Ian Lewandowski's portraits of a liberated queer community:
says. This idea that certain spaces can make you feel validated, while also being “very susceptible to being destroyed.”and studios, partner’s homes and dining rooms — in clothes and uniforms that empowered them. He used a slow-functioning 19th century camera that takes a long time to focus, and that prompted his subjects to think carefully about their positioning, sit with their thoughts and be present.
“There's something interesting to me about how limiting [the camera] is,” Ian says. “I think there's something almost liberating about having that limit. I can strive to make anything that I possibly can with it, even if it's hard.” Growing up in a working class environment in Indiana, where labour was fetishized and calls for greater productivity came at the cost of workers, Ian says he internalised the belief that you should push yourto its limits.
But, unlike his conservative Catholic upbringing, “where we didn't talk about anything or address any personal issues” and where, Ian’s images are all about openness, trust and support. “I'm thinking a lot about permission,” he explains, which wouldn’t exist without the generosity of his subjects with their time. “The permission to engage with someone on that close of a level, or that kind ofopens with a man in scrubs extending their hand and inviting the reader in.
There’s also a timelessness to the images — it’s almost difficult to determine what era they were taken. “In my opinion there are two kinds of image, the disposable and the lasting,” writes the book’s editor at. “A disposable image is one of clear intent that is meant to be physically discarded or mentally forgotten once that intent has been achieved. A lasting image is one without such singular intent. It is not pornography meant to arouse . It is not instructional nor documentary .
It’s how the images work with one another that Ian is most excited by — what is told through a selection of disparate portraits compiled together. “Mostly everything is a portrait… it feels very intact in that way, or sort of cohesive,” he says. “But there are these different methods or different sensibilities going on.” The images capture the very normal lives of the
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