take clothes for instance BOOK

In old portrait photographs people would often slip from
appearing composed, they’d stiffened to prevent their bodies
from collapsing in on themselves, from causing discomfort and
even pain. The effect was a rictus appearance with the subjects
looking like stiff ill postured dolls. In contemporary photographs,
although they are often taken in the moment, and in almost any
situation usually with little formality, both the photographer and
the subject, who is often the same person, is preoccupied with
getting the right shot of themselves to immortalise the moment.
How often this goes wrong. The poser/photographer poses over
and over again, and only after many shots do they choose the one
which they feel most resembles them, as if all the others didn’t.
All those other moments are discarded in favour of the edited
idea of self, those moments which are less than who they think
they feel they are those less than the ideal moments.
are here and now, and where we would like to be which can never
really be achieved, and what we are left with is something inbetween,
a liminal space which we inhabit uneasily.
There seems to be a negotiation, as if it could ever really be
negotiated, between the temporal and the immortal, of where we