Emmanuel Adjei is a film director and visual artist working internationally in moving image. With a background in Fine Arts, and a primary interest in storytelling, Emmanuel’s work deals with human narratives, captured by his unique visual language. Creating atmospheric worlds in both a painterly and cinematic style, Emmanuel always seeks to challenge the boundaries between fiction and reality.
Narcissus fell in love with his own reflection in a pool, not realizing it was merely an image, and he wasted away to death, not being able to leave the beauty of his own reflection. In that sense, Narcissus symbolizes the one who believes that his mirrored image is an essential part of his identity. The reflections of a piece of glass, as well as the traditionally conveyed beliefs that society has attributed to our “external form”, are the masques we try to reject or confirm on a daily basis.
The relationship with one's identity involves, on one hand, the desire to shape it personally, i.e. by voluntarily putting on our daily masques. And on the other hand it involves the external gaze; the frame that the viewer surrounds us with. With my work, I attempt to emphasize these masques and frames, hopefully making the viewer aware of the shaping process of our identity.
CONTACT
FILM, COMMERCIALS, MUSIC VIDEOS
PRESS
SHOTS - SHAHMARAN
LBBONLINE - SHAHMARAN CICLOPE FESTIVAL - SHAHMARAN MUSE (BY CLIO) - SHAHMARAN
PAPER MAGAZINE - SHAHMARAN
HIGHSNOBIETY - SHAHMARAN
PROMONEWS - SHAHMARAN
LBBONLINE - SHAHMARAN CICLOPE FESTIVAL - SHAHMARAN MUSE (BY CLIO) - SHAHMARAN
PAPER MAGAZINE - SHAHMARAN
HIGHSNOBIETY - SHAHMARAN
PROMONEWS - SHAHMARAN
STATEMENT
Narcissus fell in love with his own reflection in a pool, not realizing it was merely an image, and he wasted away to death, not being able to leave the beauty of his own reflection. In that sense, Narcissus symbolizes the one who believes that his mirrored image is an essential part of his identity. The reflections of a piece of glass, as well as the traditionally conveyed beliefs that society has attributed to our “external form”, are the masques we try to reject or confirm on a daily basis.
The relationship with one's identity involves, on one hand, the desire to shape it personally, i.e. by voluntarily putting on our daily masques. And on the other hand it involves the external gaze; the frame that the viewer surrounds us with. With my work, I attempt to emphasize these masques and frames, hopefully making the viewer aware of the shaping process of our identity.