Eric Weeks

My photographs from the series World Was in the Face of the Beloved are about a character who is becoming one within the landscape. She is someone who is okay with who they are and where they are in the world, while at the same time, she questions her place in the universe. She is my protagonist. There is certainly the suggestion of spiritual tranquility in the photographs. I want my work to offer a respite from all the courser conundrums of humanity.

These photographs speak about ideas of beauty: the beauty of this woman; the beauty of the specific style of clothing which speaks so much of Stacy's character; the beauty of the landscape and the figure relating to that space; the beauty of color relationships; and also about the beauty of analog photography. There are aspects of portraiture in the work, as well as self-portraiture and fictional narrative. I blur the line between these different strategies, creating a hybrid of the three. There are also numerous art historical and cultural references embedded in this series of photographs, which offer further complexities.

All of my work involves contemplation and exploration into the nature of human relationships and experience. In past series I have examined the connection to family, looked at the bond between couples, addressed ideas of masculinity in a portrait series of men, combined photographs of seemingly disparate subjects to suggest metaphysical and corporeal connections, and most recently created short films capturing ephemeral human interactions. The images of my wife are part of this investigation.