Where are the bounds of the “objective simulacrum”? Does the awareness that the picture was transformed reduce the “desire of the reality”? In the Redheads project I tried to answer these questions myself by combining two types of portraits of people with natural red hair. These diptychs form a kind of metamorphosis. The absence of any reference to reality is created by the use of advanced montage and computer retouching techniques. Even these seemingly realistic portraits are only subjective photographic representations of the subject, therefore the second photograph becomes a transformation of the transformation. Redheads from these photographs exist only within the realm of make believe.
