Isolated afore a chalky screen, the portraiture captured by photographer Ari Versluis resembles a research-based approach into the identification of the self. A laboratorium document of diversifing egos, non-discriminative of religious belief, gender fluidity nor age, some appear provocative, others indistinguishable.
Independent from his collaborative forte Exactitudes®, surpassing its twentieth edition of book republication, a near overwhelming record of almost thirty years describing civilisation under collective (yet singluar) portraits of twelve ‘dress-codes’. Under his own name Ari Versluis applies a similar aesthetic upon the visions of radical fashion houses and periodicals. Dramatic poses now occupy his frame and from varying angles; formal tectonic settings occasionally draw the eye. What sustains of Exactitudes® is his level in height of scope. He himself stands rather tall, yet his camera lens sits non-domineering of his subject.
The coefficient websites (X/Y) constructed and published by D. G. M. for Ari Versluis include typefaces Monylop and a custom version of Isospin. Both the desktop horizontal interface with left/right for prev/next with pop-index on scroll, plus the handheld-device version (scroll) are initiated by D. G. M. Typographics™. Both mirror one another for accessing an archival representation, offering a secondary perception of the archival order of Versluis.₁
The custom typeface Isospin-Arictm differs in impact to the original Isospin. The terminals are horizontally capped and respond to the idea of blanding.₂ The photographers name [Fig 2.] overlays all fullscreen content and therefore aims to amalgamate with all portraits, thus virtually ‘all’ perceivable personas.₃
The additional ‘video’ page presents embedded commercial content independent of any video publishing platform.
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David G. Millhouse is also author of all texts.
