AU2S SERIES, 2015
Durst Lambda print on Fuji Metallic Paper, faced with acrylic and mounted on sintra
The AU2S series portrays a number of automobiles that have been manipulated into doubled hybrid objects. Whether facing outwards or inwards, these works alter our sense of “normalcy” by playing on the absurd, the subversive and the queer. The depicted altered realities suggest a directional tension that may infer the possibility of rupture, implosion, elasticity and transformation. The image above shows the first work in the series, which is still in progress, as it has not been fully produced.
This large-scale series of digitally manipulated photographs continues my ongoing formal and conceptual use of mimesis and duality while furthering my research on identity, queer theory and the subverted image. I am intrigued by our sense of memory, of self, and of belonging. The cars that are part of the AU2S series come out of an investigation into my family photographic archives. Movement marks my own history—I was born in Memphis, Tennessee to Salvadoran parents before moving to Managua when I was six months of age. My family’s movements were marked by civil war and natural disasters, among others. The archives trace this migratory trajectory between El Salvador, The United States and Nicaragua, with the American car being a prominent element.
Durst Lambda print on Fuji Metallic Paper, faced with acrylic and mounted on sintra
The AU2S series portrays a number of automobiles that have been manipulated into doubled hybrid objects. Whether facing outwards or inwards, these works alter our sense of “normalcy” by playing on the absurd, the subversive and the queer. The depicted altered realities suggest a directional tension that may infer the possibility of rupture, implosion, elasticity and transformation. The image above shows the first work in the series, which is still in progress, as it has not been fully produced.
This large-scale series of digitally manipulated photographs continues my ongoing formal and conceptual use of mimesis and duality while furthering my research on identity, queer theory and the subverted image. I am intrigued by our sense of memory, of self, and of belonging. The cars that are part of the AU2S series come out of an investigation into my family photographic archives. Movement marks my own history—I was born in Memphis, Tennessee to Salvadoran parents before moving to Managua when I was six months of age. My family’s movements were marked by civil war and natural disasters, among others. The archives trace this migratory trajectory between El Salvador, The United States and Nicaragua, with the American car being a prominent element.
