“I get them from everywhere,” he explains, “My wife and I have even found them while waiting in line at the grocery store.” This policy, he explains, is in place because he wants his subjects expressions to be as natural as possible, without being influenced by pay or preconceptions of how they should appear on camera.
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He noticed a particular soldier with a face covered in mud and how it “…completely made him disappear.” Like how paint on a building can change its identity, Ansarov believes that moment gave him “…a fascination with using media to change an object.”Īnsarov is resolute that the people who appear in The Human Spectrum be unnamed ordinary people, not professional models. Though he says that he’s “always been fascinated with the application of colors to space,” Ansarov recalls that it was a single moment during his lengthy time with the armed forces which inspired the project. They are just human bodies of shapes and colors.”Īnsarov, who now resides in his home state of Florida, served for 15 years in the U.S military as a photographer and combat cameraman. Ansarov intends for viewers of his work “…to realize that this is a human being of no ethnicity, religion, political or sexual affiliation or financial status.” He claims that once the paint is applied to his “blank canvas” subjects that “They are no longer caucasian, hispanic or asian. “First, I want for people to get over the nudity issue,” Ansarov says, “These are human beings with body parts and there is a 50/50 chance that they have the same parts as the viewer.” Though the project inherently involves nudity, Ansarov states that rather than an exploration of sexuality, The Human Spectrum’s goal is to strip away the preconceptions of what makes us seem different. These astounding visuals are the work of photographer Aaron Ansarov in his current ongoing project entitled The Human Spectrum. Subjects are stripped nude, slathered in multicoloured paint, strike dramatic poses and then photographed at the precise moment that a water cannon blasts them.
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