These three works by Tristan Omar Mohamed, which are showcased in our publication (solitude: myself, solitude: angels and demons, solitude prayer) [all 2024 works], are black and white monochrome film photographs. The works use double exposure in which the artist successfully transformed this solitude moment (as suggested by the title) into a series in which the viewer is invited to explore the subject’s psychology, sitting upwards alone in a bedroom in low light.
As mentioned in Tristan Omar Mohamed’s statement- the film camera used was inherited from their grandmother, which helps to capture the memories that this series presents of the state of aloneness and how it allows you to recollect yourself in context to memories and to embrace yourself. With this context, we can understand that these images are extremely authentic and raw, thus capturing the state of solitude at the perfect time.
In each work, you can see a posture shift between three potential emotions and expressions: vulnerability – which we often experience when we are alone; defiance – against this vulnerability that we experience; accepting that we are not just vulnerable and we can be ourself and contemplation – this aloneness allows us to contemplate on our lives, situations and to comfort oneself.
This shifting happens as an imposed image within each work, which implies the movement and fluidity of the succession of each photograph. One is battling within oneself- between good and bad thoughts of oneself and the acceptance of what makes us- us. The use of this black and white grainy film imposes the solitude into a memory which we can look back upon and contemplate once we have left this solitude. Furthermore, it also strips the image of the distraction of colour- leaving only ourselves.