



[↑] Cassoday Harder – Untitled (2017); [+] Source unknown – Title unknown (201X); [-] Marina Choy – Untitled from Road Trippin’ (2017); [↓] Source unknown – Title unknown (201X)
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[↑] Cassoday Harder – Untitled (2017); [+] Source unknown – Title unknown (201X); [-] Marina Choy – Untitled from Road Trippin’ (2017); [↓] Source unknown – Title unknown (201X)
Follow the thread.

Source: The first instance of this image seems to have been posted by Chelsea Lee. Another image from the same shoot, suggests it’s Ms. Lee with her wrists bound to her ankles here.
Right off, the murky exposure in concert with the positioning of the five women standing around Ms. Lee’s prone body vignette the frame in a way more than a little reminiscent of the Polaroids hidden away in a burnt out abandoned house littered with pornography a showed me back in back in junior high.
It reminds me of this image, too.
I could reiterate points made previously; however, looking at this I am realizing something about my relationship with BDSM imagery: when such imagery is divorced–as this is–from perform the expected heteronormative gender roles (male=dominant; female=submissive), I am rather fond of it.
In my experience, there is a vitality to being completely at the mercy of another. Yes, I prefer such experiences sans restraints. Yet, there is something about rope as a symbol enabling something of trust and surrender to be brought to bear on exchanges that might otherwise remain ambiguous.

Ravens (54 of 72) by Najva Sol
Sol’s website proclaims: “Life is NSFW.”
Brilliant put, slogan as a dialectic tool: a widely held, seldom considered thesis (i.e. facets of life are deemed appropriate for consideration by workers performing their day-to-day functions) as well as the antithesis (i.e. the messy exigencies of living may be so cleanly bifurcated is absurd/fascist).
At first blush, the work suggests an uncomplicated simplicity—a muddy, lo-fi admixture of reportage and editorial imagery.
Yet, what keeps surprising me is the degree to which her images operate in much the same fashion as her slogan: saying and unsaying—in circles, in cycles. There is something immensely appealing in her unflinching willingness to allow her subjects an autonomous dignity—playfulness tempered by the gravitas inherent in possessing a limited, fragile body.