Always searching for further depth with the representation of the human and cosmological condition, artist Timothy Kuzmeski often employs allegory.  More specifically, with this project, he searches for the allegorization of vibration, which is a resonance at everyone’s core that André Breton described as “The Divinity of human condition.”  As humans, it can prove challenging to jettison our Freudian “super ego” and emote unadulterated energy, especially when asked to do so on demand. The performative aspect of such an act can feel unsettling. This is precisely why Timothy chose to tap into the sexual response cycle as it has been proven to induce a trance-like state in which senses are heightened and self-awareness is lost. Far from being infused with eroticism, the final product is infused with truth, which manifests itself in uninhibited movement.

To reveal vibration and the resonance of divinity, Timothy starts by placing subjects in front of the lens and recording the seismic activity of the human sexual response cycle from up-swell through to resolution. With the assistance of lighting, a cropped sensor camera, and a gloss coating on the model, the particlization and blurring of the default human form is achieved, thus revealing and recording the tracings of energy. Just as a seismograph calibrates the impact of shifting tectonic plates, Timothy’s photographs measure the the forces that reside within us hidden from the naked eye.

With the camera mounted to the ceiling, Timothy is able to leave the models coated in an all-over natural gloss to their own devices, thus ensuring optimal privacy and allowing for the natural rhythm of the act to continue undisrupted. When they feel the first twinge of orgasm, they press the trigger and ride the wave of sensory absorption until resolution, at which point they release trigger. Harnessing the “noise” organically generated from a cropped sensor DSLR, he is able to particlize the form without adulterating it in post.The photographing of movement also creates 3 dimensions on a single plane, which Timothy refers to as photographic sculpture.

Sculpture's third dimension is traditionally depth, but here, dimensional levels change and time becomes the third dimension.  The way that a sculptor's wet hand moves to press into the clay as it spins on the wheel in front of them, here the subject moves pressing into time that spins in front of them.  The utilization of digital photography not only allows Timothy to capture this movement, but to capture suspension, thus placing the subject in that liminal space between two and three dimensionality, containment and infinity.

To achieve a reflective surface possessing tremendous depth, Timothy prints the photograph by sublimating dye into gloss-coated aluminum. As a result, the subject floats in what to them seems to be an infinite void, but to the viewer is a contained portrait. The sculpture-photographs mirror the places we inhabit in our own understandable universe. Though we are cognizant of the fact that an infinite void exists, we are only able to see the edges of our own personal microverse. To an outsider, however, we could just be another black hole in their telescope or a vignette on their wall.  

With the placement and blurring of the subject, Timothy is not only able to mirror the eradication of the ego in the midst of climax, but he is also able to comment on the superfluity of race, gender and age when placed in the far more vast and significant context of the human condition. In this space, creator, viewer and subject can all transcend the visual order of things and tap into a force that belongs to the world of intangibles.

Floating in the space between precise objectivity and boundless subjectivity, Timothy’s sculptural photography crosses the optical threshold and accesses forces and phenomena that do not belong to the physical world.The result is a body, fluid and weightless, suspended in a sea of glossy blackness inviting the viewer to not only observe the subject, but the faint image of themselves reflected back at them.  As a result, Timothy shortens the aesthetic distance between the viewer and the piece, immersing them in his allegory infused with divinity.