Over the course of 12 months Natasha Caruana went on 80 dates, never really being able to take more than a couple of images at a time to ensure her married dinner date did not get suspicious.
The imagery is created using a disposable camera. This use of the snapshot connotes a sense of something being recorded that shouldn’t be seen, hurried moments of an unfinished meal, an empty seat or an obvious gesture of anticipation.
“Natasha Caruana’s series of photographs, ‘Married Man’ documents occasions when the artist arranged ‘dates’ through dating websites designed for married men to conduct affairs. She photographed each man, concealing their identity, but also recorded them secretly using a digital recorder hidden in a red purse seen in several of the pictures. Caruana asks why the ‘dates’ are willing to put their legally binding relationships at risk, as well as what an artist’s ethical responsibilities should be.”
Photography promises power by offering to make truth visible- all is knowable in its gaze. It unites the visible and the invisible’.
Griselda Pollock, ‘Sexuality and Representation’, 1988.
This work is relavent to me in developing this project as it encourages the viewer to interact with the both the images individually and the project overall. We feel, act and behave like a detective when looking these photographs, searching for clues and coming to our own conclusions about the subjects and situations. In one the date pays in cash so that no evidence is left to be discovered by his wife. This project links to my FMP on many levels as it looks at the way humans behave in social situations and examines specifically the actions of someone who is trying to conceal the truth and or remain conspicuous, being untruthful, lying and so on. Caruana’s work looks at the ethics and politics of documentary photography and explores what is assumed of work of this kind. ‘Married Man’ exposes expectations and fantasies of womanhood, rather than the range of roles which women are asked to adopt.