Adam Fuss: Mask.

Photograms by Adam Fuss.

Baldwin Gallery., Aspen, 2005. 48 pp., 25 Tritone images printed on brown paper, 9½x12".

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Adam Fuss has a talent for producing images of iconic items. His daguerreotypes of skulls, swans and concentric circles and his photograms of smoke and human silhouettes all exhibit an energy that can only be described as potent and vital. In his most recent body of work he focuses on masks. In many ways, masks seem to be remnants of an earlier epoch of man's social and religio-psychological development. They are living dinosaurs, much like tortoises or crocodiles: as odd as they are intriguing; powerful, sublime and frightening all at once. In Through the Body, Dymphna Callery writes that “masks give access to the spirit world, not as a means of escape but as a means of participating in the invisible forces of the universe.” And furthermore, she writes that “masking is an act of transformation in which both concealment and revelation reside: the wearer is hidden, but, once worn, the mask takes life and reveals itself.” The approach Fuss takes is straightforward: He makes a photogram of each mask. The mask is placed directly on a sheet of unexposed light-sensitive paper, is exposed to light for a brief time and then processed to reveal the latent image. It is, in essence, the exact same thing that William Henry Fox Talbot did in the late 1830s. Fuss’s results are chilling. That which gives certain masks their power and sublimity and ability to frighten seems to have been encapsulated on the paper. DARIUS HIMES

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