MM.XXVI

Dissociation.

In developing the visual language for this series, I found deep resonance in the work of British contemporary artist Hurvin Anderson. By superimposing security grills, chicken wire, and geometric lattices over spaces, Anderson forcefully separates the scene from the viewer as a comment on political, racial, and cultural displacement.

With my own visual essay, however, I am utilising ‘ready-made’ scenes to map a different kind of internal topography. Here, the dividing layers represent the architecture of dissociation — a visual manifestation of alienation, numbness, and psychological detachment.

Sunlight shines through a chickenwire security fence, illuminating flowers against a limestone wall.
Beams of sun light shining through strips of PVC inside an empty meat market, with a 'no entry' sign to the left of the door.
Warped reflection of a house with couple walking in front of it.
A photo of a man wearing a cap sitting at market stand behind a clear tarp pane.
A city street scene viewed through a backview mirror; a man in a dark jacket and light pants is walking, holding a bag in his right hand; modern buildings with glass facades and a historic brick building with arched windows are visible.
An image shot through a phone booth with broken window panes. A man is looking at his phone, walking towards the phone booth.
A small silhouette of a person walking down an alley.
Two people walk along a pebbled shoreline with waves washing up on the shore, seen from above.
Black and white photo of a river scene viewed from under a bridge. Two people are present: one sitting in a camping chair near the water, another sitting at the bank of the river. The scene includes graffiti on the bridge supports and a cobblestone p
A woman standing behind a phone both, gesturing. Her face is partially obscured by a window beam of the phone booth.
A person looking at their phone, seen through a metal railing with a circular pattern, with trees and a modern stadium in the background.
A view of the ArcelorMittal Orbit through a wire fence on a cloudy day with dark clouds in the sky.
View of windows with striped curtains behind black metal bars, sunlight casting shadows on the curtains.
An urban street scene seen from an overpass, looking down at a tunnel entrance. The street is marked with a speed limit of 20 and pedestrian crossing signs.
View of a construction site gated with orange fencing and caution signs, seen through a glass window with reflections of nearby plants and a brick building.
Person standing behind a counter, viewed through a curtain, with buildings and flowers outside the window.
Reflection of a person walking down a road and exterior relfecting in a glass window.
View through a glass window of people walking down a staircase and walking across the courtyard, with reflective surfaces and metal railings.
A view through a narrow rectangular opening under a bridge showing a person wearing dark clothing and white shoes on a bridge with green railings.
Close-up of a reflective glass surface with carved text, showing inverted and partially obscured words and numbers.
Black and white photo showing a courtyard street view through a glass window, with reflections of a person walking by and buildings on the other side.
A black and white photo of a train on railway tracks, viewed through a metal grid, with city skyscrapers in the background.
“As if this great release of anger had purged me of evil, emptied me of hope; and standing before this symbolic night bursting with stars, I opened myself for the first time to the tender indifference of the world.”
— Albert Camus, 'The Stranger'

OBSIDIAN DREAMS \\

// META NOIR