Silent Scream is the product of a collaboration with NYC based Hip Hop dancer/choreographer/actress Mayo Kinoshita. Mayo has a dizzying array of skills, and I felt really lucky to have her pose for my camera. Originally I had a more static and somber image in mind. However, once we started shooting, I was blown away by Mayo’s more dynamic take on the subject. This resulted in a much more fluid image, which I find easier on the eyes and more enjoyable to study in detail.
Silent Scream is about how we use seductive lies to cover up harsher truths. I don’t know about everyone else, but I tell myself lies on a daily (and sometimes, hourly) basis. Lies such as “I work better when I’m drunk” or “I can afford this!” These lies to help me ignore the painful realities that are screaming at me from the back of my mind. Thus the more seductive the lie, the more I can procrastinate from dealing with uncomfortable truths.
On a more serious note though, Silent Scream can also be seen as a visualization of challenging the status quo. There’s a Japanese proverb which states “The nail that sticks up gets hammered down!” When we go against the norm, we are inevitably met with resistance. Even more painfully, sometimes that resistance comes from people who we thought should’ve be on our side. A scene from The 100 Years Show comes to mind. Where Carmen Herrera reminisces about the difficulties she faced as a Hispanic, female artist in her younger years. She tells the story of how a female gallerist once refused to show her work, simply because she’s a women. “From a women to a women!” She scoffs with indignation.
In an effort to produce work more regularly, I have been collaborating on World of One style images with other people. While I consider these works separate from the World of One cannon for consistency reasons. Conceptually this is continuing the same work just in a more varied way. After all, World of One is about how identity is constructed in a general sense, and is not meant to be autobiographical. In this instance, changing the face of the idea does not change the meaning of the work.
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