1 a covering for all or part of the face, in particular
• a covering worn as a disguise, or to amuse or terrify other people.
• a covering made of fiber or gauze and fitting over the nose and mouth to protect against dust or air pollutants, or made of sterile gauze and worn to prevent infection of the wearer or (in surgery) of the patient.
• a protective covering fitting over the whole face, worn in fencing, ice hockey, and other sports.
• a respirator used to filter inhaled air or to supply gas for inhalation.
• (also masque) a cosmetic preparation spread over the face and left for some time to cleanse and improve the skin.
• Entomology the enlarged lower lip of a dragonfly larva, which can be extended to seize prey.
2 a likeness of a person’s face in clay or wax, esp. one made by taking a mold from the face.
• a person’s face regarded as having set into a particular expression : his face was a mask of rage.
• a hollow model of a human head worn by ancient Greek and Roman actors.
• the face or head of an animal, esp. of a fox, as a hunting trophy.
• archaic a masked person.
3 figurative a disguise or pretense : she let her mask of moderate respectability slip.
4 Photography a piece of something, such as a card, used to cover a part of an image that is not required when exposing a print.
• Electronics a patterned metal film used in the manufacture of microcircuits to allow selective modification of the underlying material.
verb [ trans. ]
cover (the face) with a mask.
• conceal (something) from view : the poplars masked a factory.
• disguise or hide (a sensation or quality) : brandy did not completely mask the bitter taste.
• cover (an object or surface) so as to protect it from a process, esp. painting : mask off doors and cupboards with sheets of plastic.
ORIGIN mid 16th cent.: from French masque, from Italian maschera, mascara, probably from medieval Latin masca [witch, specter,] but influenced by Arabic mas k ara ‘buffoon.’
Thank you to my friend Waldo Muller for introducing me to this arcane photographer and enigma: Vivian Maier. Her work was hidden away in a locker for a very long time, her stark yet innocent but passionate eye observed line and form in the most ‘platonic’ and quite obscure way, but beautiful… just so seamlessley captivating… Her composition and subject matter grabs me, travels with me and wants me to want more… of that moment… I wish I could meet her. She could have been a good friend to Diane Arbus. Maybe they shared the streets ? Vivian you had a hungry heart, I hope we can but celebrate a single moment of you!
Here is more on this mysterious woman, a piece I quote from a website dedicated to her:
A riddle, wrapped in a mystery, inside an enigma.
Piecing together Vivian Maier’s life can easily evoke Churchill’s famous quote about the vast land of Tsars and commissars that lay to the east. A person who fit the stereotypical European sensibilities of an independent liberated woman, accent and all, yet born in New York City. Someone who was intensely guarded and private, Vivian could be counted on to feistily preach her own very liberal worldview to anyone who cared to listen, or didn’t. Decidedly unmaterialistic, Vivian would come to amass a group of storage lockers stuffed to the brim with found items, art books, newspaper clippings, home films, as well as political tchotchkes and knick-knacks.
A free spirit but also a proud soul, Vivian became poor and was ultimately saved by three of the children she had nannied earlier in her life. Fondly remembering Maier as a second mother, they pooled together to pay for an apartment and took the best of care for her. Unbeknownst to them, one of Vivian’s storage lockers was auctioned off due to delinquent payments. In those storage lockers lay the massive hoard of negatives Maier secretly stashed throughout her lifetime.
Maier’s massive body of work would come to light when in 2007 her work was discovered at a local thrift auction house on Chicago’s Northwest Side. From there, it would eventually impact the world over and change the life of the man who championed her work and brought it to the public eye, John Maloof.
Collages made using abandoned urban studies slides found in St Philips (an LSE building about to be demolished). The sound is a collage of different lectures on architecture and urbanism. Exhibited in “Students, Patients, Paupers: the many lives of the St Philips building”, May 2011.
If you ever get close to a human
And human behaviour
Be ready, be ready to get confused
There’s definitely, definitely, definitely no logic
To human behaviour
But yet so, yet so irresistible
And there’s no map
and a compass
wouldn’t help at all
They’re terribly moody
And human behaviour
Then all of a sudden turn happy
But, oh, to get involved in the exchange
Of human emotions
Is ever so, ever so satisfying
“Una fotografia és un secret sobre un secret.
A photograph is secret on secret.
Quantes més coses et diu, menys coses saps”
I relate to this man too much it scares me, like he is living inside me somewhere… pure imaginative multiple genius… floating on a cloud of sadness…somewhere…
…this gentleman cannot be appreciated unless you see the scope of his work, within his brief moment of brilliance. he spoke without words, but through his art. yes he was flawed, like we all are, but in his short 27 years he created a presence that will outlast any who dare comment on his failings. color separation and characterizations of explicit concept, captured tragically and beautifully. like feeling multiple emotions at the same time.
comment by sholwa on youtube
“ when a person is lucky enough to live inside a story, to live inside an imaginary world, the pains of this world disappear. For as long as the story goes on, reality no longer exists.