“The Anxiety of Influence”

“The Anxiety of Influence” explores the slippage that occurs between corporeal forms and sculptural representations in the context of photography. I developed this series while I was working on my essay “Robert Mapplethorpe’s Italian Devil as Self-Portrait”, in which I argued that the devil-cum-satyr was a figure that the photographer used as an alter-ego throughout his body of work. I was examining the legacy of Mapplethorpe and the artistic ancestors that he personally collected, including Fred Holland Day and George Platt Lynes. Like the Mannerist painters of the sixteenth century, these photographers made images of hyper-idealized male instances of body that were selected in order to reference the anatomy and surface properties of ancient statuary.

Unlike the Mannerists, however, these image-makers used the monochromatic palette of black and white photography to render their figurative subject matter, making the distinction between flesh and stone even more unclear. These blurring boundaries were compeling to me because they rendered visible the constructedness of cultural ideals while also commenting on how culture informs expectations of lived, corporeal existence. At the same time, this body of work was a reaction to the expectations that I, as an emerging artist, was expected to follow in-line with queer-identified photographers I was studying in order to appear legible in a particular narrative.

Both Alike, 2012

Proximity, 2013

No One is There, 2013

Bust in Profile , 2012

Broken Torso , 2012

Gentle Folds, 2014

Still Life with Ladder, 2012

Impossible to Tell, 2013

The Kiss, 2014

Broken; Spent, 2014

Mask in the Closet, 2014