Harley Roberts
About
‘The unseen-scenes between scenes, where memory and experience keep dissolving. Approaching reality — diagonally. Symbols that, as soon as they’re represented, become objects of ecstasy — objects of dirge, objects of delight. This is what I find so unnerving, uncanny, and fascinating about masks — an entrance to a concealed opening, the horror of the infinite horror of what’s beneath. Think of Friday the 13th or Eyes Without a Face, John Cale’s Vintage Violence album cover, Michael Myers or Michael Jackson himself. The victim or perpetrator of their own disfigurement, incarceration, freedom? It is not my job to decide — blame it on the boogey.’
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