Stories In Reverse, curated by Nicole O'Rourke, installation view. Pi Artworks Istanbul, 2017. Photographer credits: Onur Gokce
 Huo Rf’s Stories In Reverse  Let’s start at the end of the story, with the works; Huo Rf’s “Homotopia” series. In most works from this series what we see are polaroids of nude men from behind. There are no identifying characteristics, no face or birthmarks are on the bodies. A solitary polaroid is placed upon a chosen fabric or material and within a frame, all different. If there were a question regarding the gender of the models in the photographs, the works have been given male names, sometimes biblical, sometimes ethnically common. They appear to represent unique individuals.  You will have a reaction to the works; a story that is entirely dependent on your own inner workings, your judgements and your preconceptions, maybe even your sexuality, will be woven. You might recognize a certain fabric and hold in your memory all that it represents and understand it and feel it in a way that the next person would not recognize or relate to. After all, how one interprets or sees anything or anyone is more a reflection of them than it is a truth about the other or the thing itself.  Huo Rf’s work often deals with the complications of being an individual in society, identity politics and navigating within and without social and/or cultural norms. The “homotopia” series speaks directly to and references past works and/or life experiences, acting like a catalogue and history for the artist personally. So while each work appears to be, to the unknowing viewer, a story of an individual, they are in fact, pieces of the artist and the artist’s story, and in turn pieces of commentary on social or cultural norms, too. All these ‘individuals’ make up the story. All these stories make up the individual.  Stereotyping is assuming. Judgement is a conclusion before you know anything at all. Discrimination is non-knowledge. To do any of the above, all of which are constructs made and caused by society and culture, is to tell another person’s story for them. And, no one person is just one story. We are all many stories. Sometimes they are stories forced upon us, sometimes stories that inspire us become ours. For Huo Rf inspiration came from artists like Huseyin Bahri Alptekin, and Gulsun Karamustafa. Their stories and their works became part of his life and led to this series. So, too, did his trips to other countries where he photographed the men he met; taken with a polaroid camera they are an homage to Andy Warhol and to the past—(photography was in many ways the chosen medium for the queering of the male gaze in art, and Warhol’s polaroids are his diary of all the people who made up his story). Then, folded within these many stories that birthed this series are the stories of Huo. Rf’s previous works. The story of the “homotopia” series is then ambiguous, an amalgamation which parallels the very ways in which we come to be as we are, full of contradictions, non-sequiturs.  As long as time keeps moving steadily forward all we have and know is what or where we are now and the wheres and whats from before. While human nature wishes to know what happens next, ambiguity is the uncomfortable seat upon which we forever sit. And, ambiguity is the bedfellow of assumption. This is why we tell stories in reverse, why we stereotype and judge and assume, and why we look at things like weather reports; we want to believe we have a firm grasp on predicting the unpredictable and knowing the unknowable, we desire the familiar.  An object of art, dated, is an object that proclaims its place in time as an accumulation of what came before it, and a mark to move forward, to come to terms, to remember, and to pronounce. All works of art are final stories in reverse or as final as you are the final version of yourself as you read this.  Nicole O’Rourke   
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 Bronimir, polaroid on copper plate, 56,5 x 30,5 cm, 2016. Private collection
 Roder, Sytrofoam, sponge and polaroid 56,5 x 30,5 cm, 2015. Private collection
 Ben and Miron, handcraft pillow case and polaroid, 56,5 x 40,5 cm, 2016. Private collection
 Mar. 2018 ,  First Raunt , a selection from the collection of Banu-Hakan Çarmikli, Galata Greek School, Istanbul, TR
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