Jen Dessinger, Mexico

The innocence of childhood looks us in the eye as people make their way in front of Jen's camera. The camera appearing large in size, her presence becomes an event as excitement circles the areas around her. The photographic pied piper, collects followers flooded with excitement to stand before her. Her manner so positive it leaves them bearing their personality quite effortlessly.

This has less to do with her photographic ability and more to do with the person working the camera, as we sometimes forget we are people behind these mechanical devices. The impact they have upon the people they meet affect everything in the photograph - their expressions, body language and their general demeanor.

Eyes suggest the coming of age as the mexican hat forms a circular pattern on the subject's face, their body completely calm, free from excitement, anxiety, merely leaving them content. Their use as the content in the photograph allow for such beautiful passings to be stored in a detached memory. Detached in the sense they do not know the maker well, but they feel a unique connection. Guidance on what to do, where to place their head is non verbal, made purely with eye contact and feeling. The perfect moment hitting each time as the passing of time allows her subjects to fall perfectly into a photographic pool of perfection.

Stopped in the street, the encounter and result leaves them and us enchanted, revealling such a moment that can always be remembered. I'll admit it, I sometimes loose faith in the portraits ability to portray information, focusing purely on details rather than the person themselves. Their soul is usually closed, not for the taking, not that there is an attempt to soul search, or even steal here, but the general well being of the photographs radiate positive tensions between curious parties and the person shining as a result.  

The transported background mirrors the kind of blanket we might come across at a private property, worn with warmth and the positive tensions of the beholders. The family portrait takes on an ironic role, but it fits. We enter a bizare but fascinating context. We don't even acknowledge the family portrait and its usage. But these are not images for the families but images of consumption. Their beauty makes us see the beauty in life, photography's best attribute, to show and describe, to convey feeling and to inform.

For their names are not disclosed, loving messages are not scribbled behind the print. They present themselves on the internet, exhibitions and publications, sitting in the context photography has created for itself and its inhabitants.