Fashion photography is a recent development in the career of the photographer. The bulk of his work - both prior and parallel to his experience with this industry – is characterized by the use of documentaries and portraits to depict community life in various parts of the world. Through this exhibit, he takes up the challenge of a new subject matter, bringing with him a fresh perspective and leaving a unique mark.
The muse behind this series of photographs is the embodiment of resistance, albeit temporarily, against the avalanche of forces we fight against every day. Namely, confronting the idea of a perfect body, which doesn’t exist apart from the glossy magazines. Unlike the bumps and bruises found in reality, the fashion industry and its images do not allow for any imperfections. However, these flawless faces and bodies of women who parade on display through miles of shimmering paper feed an economy, and are instrumental in the marketplace. With so much capital resting on their shoulders, there is no room for error. Or wrinkles or scars. Posing on the runway is not just a performance, but also a construct of desire centered on a body industry. And what a different lens or lighting can’t fix goes under the scalpel of software that can brilliantly adjust, smooth and touch up - giving the world what it is constantly and ruthlessly demanding.
But what happens if the body and the eye can push the boundaries? What happens when the female body grows and ages - leaving time to tell a diverse story of mysteries and quirks? What would happen if the female body was left to nature and fate, and the control of the woman herself, feeling complete and absolute without needing any technology or an imperative sale? And how would the eye of the photographer expand to capture all this? With this freedom, where does he aim the camera now?
The objective of Erasmo Wong’s CORPUS is the celebration of the real and full bodies of women. A celebration of that which has been transformed by the passing of time, and therefore, and in spite of this capitalistic era, resists. The black and white photos do not rehearse a controlled and forced seriousness framed in a conventional code that is implied by “saying something serious in photography.” It is based on a limited economy of colors to give the body of artwork and they eye of the visitor a moment of genuine freedom and humanity, without obstacles. A fingerprint born out of an unconventional eye and a hand as unrestrained as the bodies he portrays, representing a universe where we are all more human, living naked in the moment, handing ourselves over to life.