小众

壁龛是墙壁上的一个凹陷：一个为某物预留的空间，而那东西尚未置入其中。. 小众 以此为出发点。该系列摄影作品捕捉了身体被独自留在房间里时所感受到的空虚，以及当其他人全部离开后，围绕着一个人逐渐展开的那片空洞。 一位女子倚靠在窗帘上，蜷缩在椅子的扶手上，栖息在两间房间之间的光影之中。相机始终置身于这份孤独之外，记录下当身体无处可去时所发生的一切。.

Rooms are made to the measure of bodies. A chair keeps the angle of a back, a bed the length of a sleeper, a doorway the height of someone walking through, so that even an empty room describes the people it was built for. Left alone, a person begins to fit into the shapes the room has kept. A corner is the smallest shelter a room can offer: two walls meeting, enough to hold a body that wants to be held.

在一张照片中，酒店房间的布置严格对称地围绕着一张空荡的双人床，这张床置于一个拱形凹槽内。两侧各有一盏壁灯亮着。 画面最远处的边缘，一位女子蜷缩在窗帘旁，她的肌肤与墙壁呈现出同样的琥珀色。画面的中心属于空缺；身体则在边缘处静候。 在另一张照片中，一个身影侧身伫立在楼梯底部，一只手臂搭在门框上。一缕狭长的侧光照在她肩头和臀部，而她的其余部分则融入了周围深色的木质环境中，背部的曲线与身后的彩色玻璃门上的曲线遥相呼应。.

The figures occupy the room's own hollows: the inside of an ornate wooden cabinet, the depth of a window embrasure, the shadow beneath a skylight. They fold themselves into corners as if the room had made space for them. Slowly, the boundary between body and room loosens. Against a bright window, a figure becomes a dark contour, one more shape in the architecture; in a pale room, skin and linen share the same light; in a dark one, the body sinks back into the shadow around it.

Colour and material carry this merging. Heavy curtains in burgundy and brown fall around the figures like stage drapes; velvet armchairs hold bodies the way hands hold faces. Warm ambers and rusts, cooler notes of teal and deep blue, rooms washed almost white: the palette of the room becomes the palette of the skin. Cats appear in several photographs, curled nearby, walking past, watching: silent witnesses to private hours.

On the walls, art answers back: Alphonse Mucha's sinuous figures, classical drawings of draped women, photographs of nudes. These images-within-images form a 酝酿 in which the photographed body echoes the bodies already hanging in the room.

这件作品与约翰内斯·维米尔的室内画展开对话，在那些画作中，光线透过铅玻璃窗洒入室内，人物则游走于动态与静止之间。这些房间的 小众 这些空间显得更加陈旧、充满生活气息：装有暖气片的公寓里，透过玻璃窗能看见冬日的树木；墙壁灰泥开裂的别墅；以及新艺术风格床头板下的无名酒店客房。南·戈尔丁的家庭摄影作品在此也有所体现，不过基调更为柔和，也较少带有自白色彩。.

Painting has often shown a woman alone in her room as if through a keyhole, unaware of being watched, her privacy offered to the viewer as a reward. 小众 keeps the distance of the doorway and drops the pretence of secrecy. The figure knows the camera is there. The solitude in the frame belongs to the person in it, who decides how much of it to show.

布拉克的最新作品以极高的对比度呈现女性身体的局部，并将其与质感融为一体；然而，他那些在室内环境中展现完整女性形象的作品，则体现出一种旨在理解人物与空间之间关系的心理与戏剧性策略。——迈克尔·汉纳，Aedra Fine Arts 策展人（完整评论)