The Intentional Object
The visual relationship to the figure highlights many interesting contradictions: the organic and the artificial, the grotesque and the delicate, the somatic and the psychological. Each layer builds upon a recognition of the familiar yet all the while deeply unknown, disrupting the expectation of how the photograph behaves. Through the translation of the portrait you are left with something surprisingly even more human.
© Danielle Ezzo, from the series “The Intentional Object”
© Danielle Ezzo, from the series “The Intentional Object”
The Intentional Object, derived from Husserl’s theory of phenomenology posits that evidence can, in some cases, only be experienced and not seen. In this way, Danielle Ezzo exposes the gestures and moves used in newer digital retouching processes as a way to both begin to unpack the nature of this methodology, but also sever it from it’s intended industry as a way of finding to ways to appropriate the tools. This work generates new conversations around the questions: “What is a photograph?” and “What is a portrait?” In hopes to divulge news ways of approaching photography and it’s relationship to the ever-evolving digital medium.
© Danielle Ezzo, from the series “The Intentional Object”
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Danielle Ezzo
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