After the death of a dear friend, the photographer Emir Ozsahin was struck by the poignancy of life and grief, choosing to confront by creating heartbreaking images of deceased animals. In his series Pastel Deaths, he captures lifeless creatures in gentle tones, hoping to undo the fact of their tragic deaths with the naiveté of a child incapable of processing mortality: with the utmost innocence, he poses a dog beneath a blanket and offers the grey-nosed canine a book to read.
The series conveys this youthful optimism and poignant refusal to accept death with the use of tiny fixtures that could easily reside within a child’s dollhouse: a bed on which a bird might lay his beak, a straw nest for a guinea pig, a tiny, sudsy bathtub for another, darkly featured bird. The artist’s relentless striving to erase the fact of and his own personal knowledge of death is utterly heart wrenching; we follow him as he personifies each creature with a soft pair of miniature pajamas, a stuffed toy, or a pair of fallen glasses.
The juxtaposition of the dead with the artist’s infant-like insistence upon life results in a painfully intimate conversation with death and with each once-living being. Ozsahin’s subjects are so unflinchingly peaceful in their eternal slumber that the viewer must approach them only with utter care; the eye holds each for a moment like a tender newborn baby, then sets him down to rest. As viewers, we waver between acknowledging the facts and whispering to ourselves quietly, “No, look, he’s just sleeping.” While using once living creatures as subjects normally raises ethical flags for me, Ozsahin’s images read like Victorian post-mortem shots of humans, serving to tenderly and lovingly memorialize each creature. (via Feature Shoot)