Nicolas ♥︎ Raquel
Where did you first meet Raquel?
We met at a skinhead show in 2010 in Brooklyn.
How long have you been together?
Since the day of the show, about four years.
What do you love about New York? Everything but the people.
What do you love most about Nicolas?
His Uruguayan take it or leave it attitude.
What’s the most romantic thing you’ve ever done?
I don’t find romance in grand gestures, I find it in the little things, doing little things for each other every day, showing you’re always thinking of them.
What is love?
Unconditional, unselfish, truth.
The following conversation accompanies the above photograph. It forms part of a series that begins to understand the way we as people communicate our feelings towards one another. For what is primarily a fashion project, being made for ID magazine, draws connection lines between all genres of photography. This is a common sighting in modern work. It refuses to be tied down to a typical category. The way we put together the work becomes much more interesting than the category it is assigned to and I get the feeling this will follow suit within the next few years.
Due to the multipurpose of this image, it is useful to many people and can cause a much more widespread opinion due to the different audiences it can meet. The questioning is traditional but it carries the emotive involvement usually seen within the documentary and art context. But it is a fashion image. My mind traces back to a talk we had with Jason Evans regarding the merging of all three genres in a lecture called 'Docufashart'. The word combination alone indicates that the concept seems a mish mash but, alas it is a mish mash that is starting to form.
The subject itself is unapologetic of its intimacy, and does not hide any truth to the answers put forward. It forms a celebration of love, between women, men, men and women. It is a neutral approach to human relationships. Although this is a short feature on the ID site I get the feeling it is something that has the potential to keep running and running. It has a huge scope to continue.
It is cleverer than most documentary projects I see, more interesting than most fashion work I come across and can speak more than abstract art - for this subject. It is the perfect blend. And lets not forget the aesthetic, something that carries its excellence but does not define it. The aesthetic is documentary, it feels like a Chris Killip, or an Alec Soth. The staged quality does not render it annoying. As it avoids the confrontational qualities of the story teller, instead exudes intimacy with the right questioning and importantly the right aesthetic to tell people's stories in a compelling way. It bridges all three gaps as if they were never there, effortlessly connecting people to the story, not the category.