The triptych series Body As Home (2023) presents the fragile relationship between body, trauma, and the self. Using silver gelatin photography, the work is black-and-white monochrome, which allows us to examine the light and shadow within the work, which are integral in the creation of a home within yourself as the light focuses on the body.
Each part of this triptych is a different perspective of Charrett-Dykes body in an unguarded state, which explores and reflects the journey through trauma, psychosis and recovery through the self, which becomes a form of therapy within. The light shining onto the back implies fragility and strength; the body carries one’s history. It also slashes away at the background to create a frame for the body, which seems to protect the body from the outside, which personifies the concept of finding sanctuary within oneself.
The body has been explored as both a sanctuary and a site of trauma- the body has thus become a vessel which melds together physical and mental wounds, echoing the reality of trauma survivors. The light shining upon the body then can become the concept that one can reclaim one’s safety and identity- it has revived the body.
The first image within this publication – Charrett-Dykes is curled inwards, which seems self-contained and shows the body as a repository of pain, but it also serves as a space of renewal and perhaps solace. Then, the second image is still. Her body is exposed but appears more contemplative, while the posture seems to be self-aware while still within the context of self-preservation. The final image in the triptych series seems burdened while the light is contrasted by the shadow, suggesting transformation within the space.
Overall, the series is a personal story of inner meditation as it reclaims the body as a sanctuary holding the feelings and the self. The body has captured the resilience of the human mind and spirit and as a form to transcend trauma allowing for hope and to give empowerment.