The image had already become part of him before he even took it. He was spending a lot of time exploring spaces of inner city economic hardship. He felt that the raw and primary forms of some building structures, their sense of emergency and a dislocated cultural presence, responded to the dynamic necessity of the project. At the turn of the avenue he got used to following around these parts, the peculiar structure of the building perplexed him.
How can I think the image? In fact, how can I detach myself from it, from the evocation of a personal interior landscape of confusion and contradiction? The photograph depicts a strange and visually complex view of a neglected low- rise building that is most probably public housing or low-rent temporary accommodation. Two palm trees, whose foliage spreads around the trunks like fur, stand on each side of the image. The roof is the shape of a bird beak. The bottom part of the unit has this grey-wood triangular-patterned panelling. A fence covered with a see-through metallic screen separates the enclosure from me. I am a passer-by, an onlooker, a spectator.
There is a strange visual effect in this image. What is behind the fence –– a discarded mound of stones that will later resonate through ideas of secrecy and self-deprecation –– looks like it was projected against the metallic screen.
The image diverts attention imperceptibly to the level of the libidinal. There is always an erotic movement in the act of looking, or looking through. The paradox of the work is that, as the title promises the exposition of full disclosure, the signifying of the image remains obscure and yet all the more present and active.