Ballroom Harry

Volume II picks up Goaz’s trail as he has re-emerged to work with David Lynch on Twin Peaks “The Return” and reclaim the life of a working actor. Many might be familiar that this lifestyle often has less than glamorous trappings. Goaz who’s not only an avid photographer, but also a consummate observer, has the ability to disappear in the room. Even as the those who surround him let their guard down, his photos often obscure a more obvious target. You’re never totally sure if Goaz is alone while waiting for a car to be repaired or he might be sitting next to an international celebrity. The photos themselves represent Harry’s own cool demeanor in the room. He’s not showy or bragging about who he’s around or who he knows, likely the very reason he’s there to begin with. These photos project a minimalistic calm that has something electric just out of view. This tension is spread throughout the deceivingly simple frames of his environment, like a peek into someone's medicine cabinet when they’re out of town. This first collection follows Goaz’s journey back to the role of Deputy Andy and a reassessment of his relationship with the character, along with a reunion of old friends, often for the first time in decades. The playfulness of the subtitles on each of the photos speaks to Goaz’s own playful nature and a subtle abstraction to a direct answer. Much like his apprehension to do a “normal” interview, he has little interest in explaining why he finds an image interesting (or, for example), why Roger Daltrey’s shoes were a better photo than the icon himself. These snapshots, further contextualized in most cases by the immediacy of the iPhone, are more a mirror to the man himself than anything he might say. Inside this enigma, the viewer begins to understand why so many have taken to Harry’s social media to attempt and unwind his persona, all while Goaz remains happily elusive.