SOBER.

Born from a fascination with faces, Unface examines the social functions of our faces in present day and addresses the wider theme of self-identity in the digital age, its curation, formulation, and reiteration through a hyper-image flow. The face seems destined for the sculpture, for the image of its commemoration; it is the most essential, mysterious, and esoteric element of the human being. Its appearance is the quiet precedent to all humanities achievements as social creature – the ‘roadway between men’ says Kōbō Abe. So why then does the prospect of a world plunged into blind darkness, seem more infatuating, more erotic, and more liberating than ever before.

A nebula groped by faceless beings. An emphatic revolt against the domineering lure of the parts of our identity we cannot decide. What would we make of a world in which humankind are absolutely free and undeterminable? Could we make anything of it if we can't see anything?

Harry Carter is a 22-year-old photo-based artist and writer. Carter is interested in photography’s unclear place as a tool to aid and facilitate human communication, saying: ‘It’s not clear what the future of our image culture will look like, or the possibilities for visual communication at large. With my projects, I seek to conceptualise social struggles that I and many others have and will encounter, and perhaps contribute to a global viewership that is more savvy, inquisitive, and autonomous in the consumption of imagery in the years to come.’

Find more of their work through Instagram.