The portraits of the talented Belgian photographer Eva Beazar (1987) consist of layered passport photographs of people who are important to her. In their eyes lies a lifetime of stories.
24 October, 2016
Text: Guido van Eijck
Eva Beazar describes her mysterious portraits in black and grey as ‘phantom images’. With their hazy look, these photos almost seem drawn with charcoal. The portraits are actually comprised of several photographs placed on top of each other. Beazar put the focus on the eyes, instantly drawing attention. She formed completely new faces: you never know where one face begins and the other ends.
Yet the goal of a passport photo is to be as objective as possible, the law even dictates what a passport photo should look like. Beazar’s pictures are anything but objective. We can interpret her work as a search for identity, she says. That phenomenon is as intangible as the individuals in her photos. Beazar: ‘It’s not exactly clear what an identity is: not for an individual, and least of all for a community. Identities are constantly changing.’
Beazar made a series of intimate portraits. ‘One by one, they are all passport photos of people I know well, or people I have lost. From a young age I have been confronted with loss. I took these experiences and used them in these series. In a way, this project is also a search for my own identity.’
After BredaPhoto, the series A Constructed Family by Eva Beazar will be on show until 31 December as part of the exhibition Mensbeeld. Presented by Breda’s Museum and BredaPhoto.