{"id":9509,"date":"2019-12-03T06:07:48","date_gmt":"2019-12-03T06:07:48","guid":{"rendered":"http:\/\/pnpplzine.com\/?p=9509"},"modified":"2022-06-24T02:16:48","modified_gmt":"2022-06-24T02:16:48","slug":"hue-hale-2","status":"publish","type":"post","link":"https:\/\/pnpplzine.com\/index.php\/2019\/12\/03\/hue-hale-2\/","title":{"rendered":"HUE HALE"},"content":{"rendered":"\n

Featuring ‘He Wasn’t There’ a self-refelctive photo essay – by Berlin based artist, Hue Hale.<\/p>\n\n\n\n\n\n\n\n

He Wasn\u2019t There <\/strong><\/p>\n\n\n\n

The conventional identity of a young man has always been unclear to me, the identity of a  young queer man holds even greater mystery. I was born in Ireland on the cusp of  homosexuality being decriminalized, although attitudes were changing and becoming more  positive towards the LGBT community, I was raised with conflicting ideals. These ideals  have had a direct impact on shaping my identity growing up. I was never taught about how  same-sex relationships should function, or how two men could love each other  romantically.  He Wasn\u2019t There \u200b is a self-reflective document of key points in the lifespan and fallout of a  codependent relationship. It\u2019s told in three chapters, I: Moneylands, II: VIDEOBOY, and III:  Las Am\u00e9ricas. Through viewing each chapter in succession as a single narrative, the  project shifts focus from the impermanence of a lover\u2019s presence to that of the identity of  the subject within the images.  <\/p>\n\n\n\n

Chapter I: Moneylands  <\/strong><\/p>\n\n\n\n

He Wasn\u2019t There \u200b originated in Moneylands Farm, Co. Arklow. My partner and I were going  there as an escape from the city. I intended to photograph us together, the holiday home  we were staying in and the surrounding area. He cancelled at the last minute and I was  forced to change how I recorded my experience at the retreat. Though still in a state of  content about my relationship, I photographed myself there alone and as a result, I  unknowingly recorded his absence which in re-examination loomed over me for the  entirety of the trip. <\/p>\n\n\n\n

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Chapter II: VIDEOBOY<\/strong><\/p>\n\n\n\n

VIDEOBOY \u200b functions as a transitional segment that helps intertwine the first and third  chapters. It focuses on the shift from an isolated singular being to that of two again. The  moving images were produced out of a restlessness I experienced under the strain of our  relationship. Cracks were showing and we were walking on eggshells. There was a sense  of dread in the air that became a near constant in this period of my life. We were  approaching the end.  To prevent myself from exploding under the weight of this stress, I filmed myself in the  hopes of regaining control over my emotions.  <\/p>\n\n\n\n

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