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What I realize now is that although everywhere the world is the same as
itself, landscape is nowhere the same as itself: you have to show landscape
by example, because as a subject, it wont reduce to fundamentals; it wont
trivialize.1
Usually I get in by a port of entry, as I call it. Its often a face, through whose
eyes the picture opens into a landscape, and I go literally right through that
eye into that landscape.2
A horror story, the face is a horror story. It is in these bleak terms that
Gilles Deleuze and Felix Guattari declare their critique of faciality. According
to these pop philosophers, faciality constitutes a powerful system of
representation that is constructed through the dynamic interplay between the
frame of falsely generic white skin and the focal points of the eyes that
puncture it; between what they identify as white walls and black holes. For
Deleuze and Guattari, the apparatus of faciality operates to translate
physiognomy to ideology, raising geometric Caucasian masculinity into a
template against which all others are measured. More than this, the elevation
of the face as a symbolic standard reinforces the value attached to two of the
faces sociobiological functions those of signification and subjectification,
functions which Deleuze and Guattari have, as might be anticipated, very
little time for.
As with much of their writing, what is initially experienced as awkward
abstraction evolves over a process of repetition and reflection into a mindaltering insight into the realities of lived experience. Nowhere is this concrete
insight more clearly corroborated than through an investigative immersion in
the mediated environment which surrounds us. The face, entreating yet
ultimately indifferent stares back from the pages of magazines, from the
billboards, the flyers and the screens. Within these faces, it is the eyes that
have it, the eyes that judge, the eyes that implore, the eyes that constitute,
irrespective of their place within the pictorial border, the gravitational nexus
of the image, into which attention is initially drawn. It is interesting to
consider that in the pseudo-public media spaces, it is these same eyes which
frequently bear the brunt of the delinquent viewers interventions, providing
a target for chewed gum, scrawled biro and the tearing or smearing fingers.
Of course, it is not only within an age of advertising that the eyes and face
are rendered pervasive and persuasive. Deleuze and Guattari, for example,
trace the origins of the system of faciality, in which the eyes are so centrally
positioned, back to the conventions of Christian iconography. In this regard, it
is interesting to consider the work of neurophysiologist Christopher W. Tyler.
Tyler has conducted archaeological investigations documented in detail at
various web addresses - into the portraiture found in successive layers of art
1
Paul Shepheard The Cultivated Wilderness: or What is Landscape? (London: MIT Press, 1987)
p. xiv
2
William Burroughs reported in Barry Miles, The Beat Hotel: Ginsberg, Burroughs and Corso in
Paris, 1957 1963 (New York: Grove Press, 2000) p. 156
William A. Ewing The Body: Photoworks of the Human Form (London: Thames and Hudson,
1994) p. 37
4
John Berger, Ways of Seeing (Harmondsworth: Penguin, 1972) p. 9
5
Edmund Burke A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and the
Beautiful (1757) (Oxford: O.U.P, 1990) p. 108
Susan Rubin Suleiman. "A Double Margin: Women Writers and the Avant-Garde in France" in
Subversive Intent: Gender, Politics and the Avant-Garde (Cambridge: Harvard UP, 1990) p. 21
Where else might the photography of the eye go? One potential direction
could be to trace a point where portrait and landscape collide, where the
represented eye no longer functions as window into the musty confines of
faciality - whether a faciality that draws out the positive elements of beauty
and empathy or Deleuze and Guattaris negative elements of signification
and subjectification. In this direction, the eyes that dwell in the portraitlandscape would not draw the viewer inwards but would instead transport
them ever outwards. From my perspective, Edgar Martins recent
photographs The Reluctant Sitter succeed precisely in these terms.
In Martins images, the eyes are prominent. They could qualify as the
repositories of beauty, empathy, expression and identity which we have
heard of before. Further, the pictures are suffused with a formal quality that is
reminiscent less of the expected reference points of photographic
documentary or photographic portraiture and more, indeed, of the
Renaissance painting so provocatively analysed by Christopher W. Tyler.
True, Martins images are not pitched, I concede, at the apocalyptic level of
the philosophers strident [y]es, the face has a great future, but only if it is
destroyed, dismantled7. Yet, I would argue that The Reluctant Sitter goes
someway to answering Deleuze and Guattaris critique. This achievement is a
consequence of the fact that the eyes in Martins images do not lock us into
the closed circuit of representation that is the hallmark of faciality but instead
lift the viewer from the face and on to a more open terrain. The sitters eyes,
sometimes shut, sometimes open, sometimes direct, sometimes oblique take
us out into the landscape, whether that landscape is mapped by the folds and
crevices of a clothed body, by the furnishings and arrangements of rooms or
by the blasted yard under the sky. Intriguingly, explored in these terms,
Martins work shadows Deleuze and Guattaris own conviction that [a]ll faces
envelope an unknown, unexplored landscape; all landscapes are populated
by a loved or dreamed of face, develop a face to come or already past. What
face has not called upon the landscapes it amalgamated, sea and hill; what
landscape has not evoked the face that would have completed it, providing
the unexpected compliment for its lines and traits? 8.
Returning to the second quotation which began this account, Edgar Martins
The Reluctant Sitter makes of the eyes neither a window of the soul nor the
locked door of faciality, but a port of entry through which we can travel to
landscapes beyond.
Gilles Deleuze and Felix Guattari A Thousand Plateaus (1980) (London: Athlone, 1987) p. 171