Gallery Primo Alonso is proud to present The Line of Lividity, an unwavering exploration of death and mortality, featuring photographic work by Sophia Al-irimi, Rob Ball and Neil Hamon and curated by Medeia Cohan-Petrolino.  In time for the Halloween season, this unsettling show concentrates on the journalistic portrayal of death as interpreted by the artist. From the clinical to the simply gruesome, this macabre showcase exposes the darkest elements of human nature

Sophia Al-Irimi's dark, staged portraits of murderers and murder victims inspired by press headlines are a reaction to the story-like hysterical journalism typical of today's popular-press. Bloody figures sit or stand before a stage-like curtain, mirroring traditional backdrops of social portraiture and pointing towards the theatrical melodrama of tabloid journalism.  

Rob Ball's flawless clinical documentation of the morgue environment and medical equipment isolates traces of death with an unadorned matter-of-factness. Ball highlights an indexical function or objectivity of photography owing much to the industrial and architectural work of contemporary German photographers particularly Bernd and Hiller Becher. 

Inspired by the work of police photographer, Alphonse Bertillon, Neil Hamon recreates American crime-scene photography from the 1910s and '20s with his suicide self portrait series in which he has adopted the role of both documenter and subject. His work reveals how we are lured into falsehoods because of our desire to preserve, restore and remember.

The unsettling staging of a murder is the subject of Konstantinos Menelaou's video. This bloodbath shows the stark reality of the raw film alongside a more stylized black and white version of the same footage. The film references the current obsession with horror and slasher films in a well choreographed dance of death.  

The line of Lividity is a chilling, yet beautiful re-telling of the stillness of the end and an objective presentation of loss devoid of emotion.