I can’t decide. Dutch photographer Ruadh DeLone has a way of being excruciatingly subtle. Casting for words to describe his two-tone mix of the macabre (‘sick, not alright’) and the normal (‘happy alright’).
Or he’s being inherently disturbing. Which is a bit of a puzzle. If it is inherent (‘naturally forming’), it can’t be too alien to accept, can it?
:: Can you tell me the inspiration for the Vergänglichkeiten portfolio? Is it a suffocation theme?
Verganglichkeiten has nothing to do with suffocation but with the fact that we are all mortal but are trying to extend our lives as long as possible. The plastic covers are a symbol for keeping the flesh together. It was also a test if people would find it scary, and they did because they could see the skeleton faces shining through. In fact we all have that skeleton face underneath but it is only covered with skin. I mean: all you see in the images is human but still it scares us, and that to me is interesting. Mankind finds itself creepy I suppose.
-interview with lost in a supermarket
On another note, DeLone here reminds me of a recent interview with Robin Nagle. The anthropologist wants to build a Museum of Sanitation, to get under our skin with consumerism and garbage- where else better for both than in New York city.
Sanitation might be a less sexually exciting theme than skin (or asphyxiation), but one equally contrary.
Pickings from the brilliant chat with The Believer:
Garbage is generally overlooked because we create so much of it so casually and so constantly that it’s a little bit like paying attention to, I don’t know, to your spit, or something else you just don’t think about. You—we—get to take it for granted that, yeah, we’re going to create it, and, yeah, somebody’s going to take care of it, take it away. It’s also very intimate. There’s very little we do in twenty-four hours except sleeping, and not always even sleeping, when we don’t create some form of trash.
The other cognitive problem is: Why have we developed, or, rather, why have we found ourselves implicated in a system that not only generates so much trash, but relies upon the accelerating production of waste for its own perpetuation? Why is that OK?
And a third cognitive problem is: Every single thing you see is future trash. Everything. So we are surrounded by ephemera, but we can’t acknowledge that, because it’s kind of scary, because I think ultimately it points to our own temporariness, to thoughts that we’re all going to die.