This is a verse from Paul Celan: “We are one flesh with the night”.
This sentence can be distorted, used for umpteenth senses, we are like ants connected by this darkness that takes away our shape and leaves us in this dream network. Dream or desire. In this more collective life, even if at night life seems less social, more linked to desires, functions, primary drives. Harry Odunze’s work is part of this night of mutations that we have been thinking about for some time.
In the middle of the night you will see his portraits, the faces emerging from the deep darkness revealing the essence of a dark soul. It is an obsession, this of the eyes that come from the dark, this hyper-mutation between the flesh and the dark. For us it is a sort of future, a future horizon, it shows us in a more evident way what is certainly happening to us too. And the photographs of him show it to us once more. We know that photography is a mutation of the world. Photography is, not a soul, it is an exhalation, a scale. But, in some ways, for photography they are worth portraits of Odunze.

Then the world is destroyed, gets old, withers, is consumed, certainly by entropy, and reaffirms itself forever. And even if photos are part of the world, photography has already changed. And it will remain, it will remain as an idea, as an idea of ​​creation.

Odunze’s faces tell us about this, these bodies that await the soul, the breath, the word. His mutations are anarchic, savage, atheist images that do not recognize the origin of the change in humanity, in the human body. In fact, there is a terrible fear of mutation. Yet we know that we constantly change, up to that supreme mutation which is the change “en son meme, tel qu’en lui-meme enfin l’eternité le change” (Mallarmé).
And maybe it’s all there, exclusively and only there; the return of the flesh, the resurrection of bodies, therefore well beyond the soul-body dichotomy. We are in the throes of mutation.
Here, this tells us about the art of Odunze Harry, of these two forms both extreme. A more cultural, more readable, more rational one; and the other, instead, more widespread, wild, fast. Images of sudden, terrible accelerations. The night, the body. Good vision.