The Time We Spent Together Was Kind, from the I.D.
To capture someone on camera requires a certain level of intimacy.
This sensation is one thatEvan Murphyprioritizes throughout his own work.
“The Time We Spent Together Was Kind,” from the “I.D.” series.
Based in New York, the 24-year-old photographer approaches the medium with an unwavering commitment to his subjects.
Regardless of who is being photographed, its clear that their personality shines through.
Above all, however, storytelling is what motivates Murphys work.
“The Rest of Me,” from the “I.D.” series.
These images narrate the varying and individual manifestations of queer identity, with a particular focus on queer youth.
The series has gained recognition throughout the past year, premiering during the Venice Biennale in June.
It was also honored by theHead On Photoand1839 Awards, demonstrating Murphys skills as a young photographer.
“Alec”
Read on for our exclusive interview with the photographer.
The Rest of Me, from the I.D.
What originally drew you to photography as your preferred artistic medium?
“Smoking”
The best way I know how to tell a story is through photography.
Photography allows me to document, process, and express emotions in a way that feels intuitive.
That shaped the way I see the world and how I compose images.
“Stay”
As I got older, photography became more personal to me; it became a tool for self-exploration.
I found myself observing more, drawn to the lives and identities of those around me.
Alec
Smoking
What themes do you find yourself returning to?
“When Morning Came,” from the “I.D.” series.
Do you have any specific stylistic or thematic influences?
Stylistically, I draw a lot of inspiration from documentary and candid photography.
Stay
When Morning Came, from the I.D.
“Performance,” from the “I.D.” series.
What has your experience been within the art world as a young photographer?
How doyou hope your career will evolve in the coming years?
Navigating the art world as a young photographer has been an ongoing learning experience.
“Wildfire”
For me, success is about people engaging with my work and having a response to it.
Im interested in exploring new ways to push my creative vision forward and continue developing my artistic identity.
Performance, from the I.D.
“First Touch,” from the “I.D.” series.
Wildfire
You moved to New York about two years ago.
How did this impact your creative practice and the subjects you photographed?
New York has a way of making you hyper-awareof movement, of emotions, of fleeting interactions.
“Mourn”
During my few years in New York, I felt as if I was just observing.
I observed the city and the foundation of life people have built for themselves here.
I began to see this feeling displayed in my work, adding a sense of intrusion.
“I’m Already Gone,” from the “I.D.” series.
The framing and depth were intentional, creating a sense of both closeness and distance.
First Touch, from the I.D.
Mourn
What was the original impetus behind yourI.D.series?
“Escape Code,” from the “I.D.” series.
The series became an opportunity to tell stories that went beyond my own personal experiences.
I’m Already Gone, from the I.D.
Escape Code, from the I.D.
“Renata”
What was your creative process in shooting the images inI.D.?
What stories and perspectives were you hoping to capture?
The driver, a painter, ended up letting me use it after I explained my idea.
“Mitchell”
I approached each image with a strong sense of intent.
Composition, lighting, and setting were all considered to reinforce the themes.
Many of the images explore the emotional complexities of queer identity, self-discovery, and relationships.
“Fog”
Some reflect longing or isolation, while others capture moments of expression and connection.
Renata
Mitchell
Fog
You showcasedI.D.in the photography-only sub-exhibition during the 2024 Venice Biennale.
What was that experience like?
Exhibition associated with the 2024 Head On Photography Awards.
ShowingI.D.during the 2024 Venice Biennale was a unique experience.
Being in Venice, surrounded by a city with people dedicated to art, was something I really appreciated.
It was interesting to see how many people had come specifically to engage with different artistic perspectives.
Exhibition associated with the 2024 Head On Photography Awards.
One of the most rewarding aspects was hearing how people interpreted the images.
Exhibition associated with the 2024 Head On Photography Awards.
What do you hope people will take away from your work?
I aim for my photography to evoke a range of emotionsnostalgia, curiosity, introspection, or even discomfort.
