Alina Senchuk (goodbyestockholm)

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La petit mort  2011

It is difficult to speak the truth, for although there is only one truth, it is alive and therefore has a live and changing face.

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Franz Kafka

This is exactlythe sort of thing I wanted to feature when I started Acetylene Eyes—something to aim a one finger salute in the direction of all the endless rehash of explicit imagery with only two criteria: keep the titillating bits visible in the frame and in focus; something with a modicum of consideration for composition, form and content.

As an image maker invested in questions of public vs. private—particularly as they pertain to the politics of graphic nudity and sexual tableau—this image fascinates me.

Its hallucinatory blush is reminiscent of the rotoscoped animation in Waking Life and A Scanner Darkly and invokes the feeling of a memory which may have only ever been a dream.

During my junior year of college, I was assigned a room in a flat with six other students. I knew not one of them on move-in day. But nine months later, six of us were very close; two in fact, remain, very, very dear friends.

Another dear college friend enjoys describing me as “violently allergic strangers and bullshit;” so it was a bit surprising that I gone on so well with my flat mates.

All I can say by way of explanation is I have never been as comfortable in my own skin as I was sharing space with these people. Virtually everything I know about living in, participating with and fostering a community comes as a result of those nine months—everyone looked out for everyone else in the most simple and touching ways.

Within two weeks, no one locked their doors. Within two months doors were rarely closed and no one really knocked so much as peaked their head inside to ask if it was okay to come in.

One of the many amazing memories I have of this time has the same hypnogogic quality as this image.

It was toward the end of the term. I had come back from my morning class (Russian) to find the flat empty. My intent had been to nap but between the mild hangover from the night before and caffeine that allowed me to drag my ass out of bed in time to make it to class I couldn’t fall asleep.

The thought occurred to me that if I could get myself off, there was a better than average chance I might be able to pass out again. And it was one of those rare times, when as you get started you realize your body is ready and willing but the orgasm you are chasing proves elusive.

My eyes were closed so I didn’t realize Lela in the room until I heard her exclaim: Oh

I suffered a litany of close calls as a teen but somehow no one had ever caught me in flagrante delicto until that moment. I stopped masturbating but more in the pausing the action instead of the trying to hide what I had been doing. It surprised me that I neither felt horrified or even a little bit ashamed.

I opened my eyes. Lela, all freckles and strawberry blond hair was standing maybe four feet away from me staring at me.

Wow.

Her right hand flew up to hover an inch or so in front of her eyes; her pale hand seeming paler against her reddening face.

Uh, hey, I need to ask you something. Um…could you, you know, definitely finish taking care of this but maybe put on a towel after and come out to the kitchen for a minute?

Instead of backing away room, she merely turned, dropped her hand from her eyes and pulled the door to but not closed behind as if she was just trying not to disturb someone who was sleeping.

I’d assumed I wouldn’t be able to finish but I quickly found my rhythm again and came like gangbusters in less than five minutes.

As soon as I could I slipped on a t-shirt and pajama bottoms.

Lela was sitting on the stool at the breakfast bar, still a little red faced, reading a photocopied packet.

Before I could say anything she had her arms wrapped around me.

There were no apologies because none were needed. No embarrassment or shame. For the first tim in my life just exuberant acceptance.

I inquired what the hug was for and she responded that’s what I came looking for you for in the first place. That and—sheepishly—to see if you’d let me borrow your car so I drop the donated food at the shelters tonight?

William Eggleston – Two Girls on Couch 1976

When photographers gather and conversation turns as it will to Eggleston, you hear a lot of talk about color. After all, the man all but made color photography a meritorious visual art medium single-handedly.

What everyone misses in the justified fuss and bustle over grand spectacle of color is just how deliciously subversive the work is—rich with subtly deviant, transgressive flourishes.

Take the Red Ceiling: check out the poster edge stretching into the lower left corner of the frame; and how damn fucking creepy is this one yet you don’t stop to think about that because the print is so warm, mellow and aesthetically pleasing.

Eggleston is unrivaled in inciting within the spectator an understanding of why—visually speaking—the photo was taken without being aware that such understand implicates the spectator in the artist’s gleeful disdain for anything conventional.

Yes, Two Girls on Couch is not overtly sexual. At the same time, it is not asexual. It focuses on a slippery intimacy, how crossing that perilous bridge over the chasm of puberty changes our instincts with regard to bodily relationship to others.

The fluidity of girl-childhood and femininity in a shimmering ghostly game of leap frog. Customary lines of communication shorting, reconnecting, fading. Being your self to another no longer fits as well, pinches at the seams, effort a new ingredient to produce the same old recipe.

If this possessed the sumptuous colors of Eggleston’s dye transfer prints, the voyeurism of these girls intimacy would read as a leering older man fetishizing a moment he is outside.

Make no mistake such undertone belongs here even though it has been carefully diminished with harsh lighting (a single overhead bulb?)—atypical in Eggleston’s oeuvre. By checking the customarily sumptuous color, the focus shifts away from the artist’s craft and more toward the immediacy of the moment. 

This is not porn. It isn’t exactly transgressive either. But to not recognize the way it edgily toes the line is to miss at least half of what is at work here.

I dig the shit out of edgy. All the better when the craft is fucking impeccable.

What appeals to me about this image is more a perfect storm of mitigating circumstances than any artfulness. But I will get to that.

First, there are six dicks shown, eleven men implied: three standing behind the couch serving as a backdrop more than anything else, three on the couch starting with intensely focused masturbating boy (who is the focal point) along with the fellow turned to his left where he is presumably echoing the gesture behind him by grabbing the nipple of someone sitting to his left, outside the frame. In the foreground, three men lay prone; the one with his head in frame strokes two hard ons of the other two. All the way to the left of the frame, a man is sitting on the arm of the couch presumably fellated by the dude to whom the knees jutting into the lower left corner of the frame belong.

I don’t understand why this was framed vertically when horizontal frame would have offered additional contextual information and allowed for a more balanced, interesting composition.

But that is beside the point: why am I posting this?

Simply, it turns me on. And in my experience sexual attraction is rarely as neat and tidy as ‘straight’, ‘bisexual’ or ‘gay’ designations. Well curated pornography should insist on challenging preconceived notions in a way that upholds and respects consent while still pressings against our precious fucking bullshit boundaries.