The Atlanta Center for Photography is currently showcasing the work of emerging photographer Brayan Enriquez in an exhibition titled “Like Hills Made of Sand,” which runs through August 23.
The exhibition features a blend of traditional portraits and moments that challenge the viewer’s perception, as well as images of family memorabilia.
Together, these photographs create a narrative that delves into the intersection of migration, family, and belonging.
While the initial premise is intriguing, the emotional depth and technical prowess of the works are sometimes overshadowed by a collection of mixed metaphors.
Enriquez employs metaphor as a key storytelling tool that shapes visitors’ expectations before they even enter the gallery.
The title itself evokes notions of ephemerality, instability, transience, and monumentality.
According to the news release accompanying the exhibition, Enriquez is “mining lived experiences spanning generations and nation-states to image the invisible effects of U.S. immigration policies.”
Given this context, one may anticipate an exhibition filled with political depth and emotional resonance.
As visitors make their way through the gallery, the metaphor surrounding hills and sand seems to dissolve, making way for a new, dominant metaphor: water.
Upon entry, viewers encounter the artworks “Stars over the Pacific #1 and #2,” which depict a dark ground speckled with subtle white flecks.
This high-contrast imagery creates a stark visual experience, leaving viewers to decipher its meaning from the title alone.
Despite the technical excellence of these photographs, they appear disconnected from the exhibition’s stated themes of immigration and transience.
Instead, these works introduce a different conversational thread centered around the metaphor of water.
As visitors venture deeper into the exhibition, they encounter another artwork titled “My mother’s collage that hangs in my grandmother’s room, after Hurricane Otis.”
This piece showcases a photograph of a tableau filled with family history — weddings, births, and portraits — now bearing the scars of time.
Though its title describes an intimate familial setting, this work adds complexity to the overall narrative, shifting from immigration themes to a focus on memory and the fragility of archives.
The emotional weight embedded in these reproduced images remains striking, yet it diverts attention from the overarching themes of transience and immigration.
The diversity of metaphors employed throughout the exhibition ultimately creates a sense of disconnection, leaving audiences contemplating the intention behind the varied themes.
The turbulence of Enriquez’s family reunions may have contributed to the overall emotional experience of the exhibition.
However, the lack of clarity regarding the narrative intent may undermine the potential impact of the artwork.
Enriquez’s prowess in photography is undeniable, as evidenced by his recognition as a recipient of the Atlanta Center for Photography’s Emerging Artist Fellowship.
This prestigious fellowship culminates in a three-month exhibition, further cementing his place among emerging talent.
Yet, the exhibition may benefit from a more cohesive narrative structure that allows for a smoother connection between the pieces.
If the works communicated a singular metaphorical language, they could potentially enhance and support one another’s messages more effectively.
As it stands, the collective themes risk being overshadowed by the competing narratives present in the room.
For those interested in the delicate subjects of migration, family, and identity, “Like Hills Made of Sand” presents a fascinating exploration, even if the individual works struggle to maintain alignment with its intended messages.
The exhibition is open to the public from noon to 5 p.m. Wednesdays through Saturdays at 546 Edgewood Ave. SE, Atlanta.
Admission is free, and more information can be found at atlantacenterforphotography.org.
image source from：ajc
