A Close-Up View Of The “White Harmony” Collection

The photographic appendix of the poetry and photography book “White Harmony”

Authored by A. Rahaad

Reviewed by Diba ADIB, the curator of this project

A Close-Up View Of The “White Harmony” Collection

May 9th 2024

This collection, titled “White Harmony,” unveils a romantic drama where human actors are absent, yet emotional bonds fill the atmosphere. Within these frames, devoid of human presence, themes of affection, solitude, and impossible dreams emerge, inviting viewers to read the unwritten lines of a short hidden narrative.

Each frame guides the viewer deeper into the drama, presenting an emotional connection conveyed through objects. A wooden chair and a stone figure of a woman serve as protagonists in this tale.

In the first frame, the wooden chair stands alone on a forest path as the composition guides, transcending the chair beyond being a chair, adding character and identity to it. It seems alive, same as a human who sees, hears, and even imagines. Feelings of loneliness and longing, perhaps stemming from watching the sunset, the same day that the wooden chair felt so heavy-hearted that it watched the sunset 43 times. This might depict a sense of déjà vu from the story of “The Little Prince”.

Transitioning to the second frame, a lush abundance of trees and plants greets the viewer, suggesting an entry into a more complex story. Encountering the trees from the first frame deepens the narrative, depicting the layers and complexities of a relationship and tranquility amidst the unknown. These intertwined layers conceal a not easily recognizable subject in their depth which is a stone figure of a woman.

The third frame unveils the full story of this figure, positioned in the corner, in a manner that echoes feelings of loneliness and longing, reminding us of the wooden chair’s solitude. This familiar and unfamiliar sense in the stone figure drives us to discover beneath its frostiness.

With the formation of the fourth frame, the viewer is drawn closer to the stone figure of the woman, observing intricate details that seem to breathe life into it, fostering a sense of familiarity and recognition.

Questions arise about the thoughts and emotions of the stone figure, prompting contemplation on the nature of humanity and the depths of perception.

What goes on in the depth of the stone figure’s mind?

Is there anything more than just a stone figure here?

Are emotions and feelings exclusive to humans only?

The fifth frame surprises the viewer, depicting the unwavering passionate gaze from her stony eyes towards the wooden chair that is present in this frame unlike the second, third, and forth frames. The formation and composition of the subjects suggests an unbreakable bond which is no longer hidden. The romantic narrative reveals itself to the viewer more than ever.

What makes this collection unique is that we nerve get a straight answer. We never know if the fifth frame ever really happened, if it is a memory, or it could only be a fantasy in the minds of the characters. We cannot be certain if this story has a beginning and an end, or it goes round in a never ending cycle. This uncertainty makes this story as real as life itself if we look through it with keen eyes.