Focalizing the Amalgam
![](https://officemagazine.net/sites/default/files/styles/article_image_large/public/road_trip_main_image_jonathon_downing_0_0.jpeg?itok=OXIl9npN)
The various stylistic elements of Downing’s work mentioned above, all done with impressive decisiveness, convey a confidence in concept that begs an examination of these disparate components — a process of excavation that aims to find a central synthesizing philosophy amidst the visual amalgam.
![](https://officemagazine.net/sites/default/files/beauty_and_chaos_height_difference_reveal_main_image_jonathon_downing.jpg)
![](https://officemagazine.net/sites/default/files/burn_baby_burn_main_image_jonathon_downing.jpg)
The most interesting aspect of the works — perhaps the very element of synthesis I am looking — is the presentation of relationship between idol and idolizer, one done through explicit means considering that each subject is donned in a respective NBA jersey. However, this relationship is presented through an organic and optimistic lens — a lens in contrast to what I’d instinctually expect after hearing this subject on the surface. This optimism, not only conveyed in concept, is achieved through visual qualities as well — I think of the bright color palette and breathtaking beauty of the subjects featured.
![](https://officemagazine.net/sites/default/files/young_bucks_main_image_jonathon_downing.jpg)
![](https://officemagazine.net/sites/default/files/proper_posture_main_image_jonathon_downing_0.jpeg)
Furthering this optimistic lens is the amalgamated faces of the subjects — a visual code which would seem monstrous in a vacuum — that become arresting and gorgeous due to its visual context. However, the synthesized faces are not only visually striking, but serve a function: to focus the lens that examines the relationship between audience and celebrity.
![](https://officemagazine.net/sites/default/files/you_know_half_of_that_is_mine_right_main_image_jonathon_downing.jpg)
![](https://officemagazine.net/sites/default/files/i_wouldn_t_trade_you_for_the_world_main_image_jonathon_downing.png)
The function it inherits is perhaps the most vital quality of the work — a fascinating proposal that when one idolizes a celebrity figure, they aren’t necessarily avoiding questions of self identity, rather, this relationship can help contribute to the exploration of a singular identity, using a larger-than-life figure as a reference point or mirror to oneself. But this show works best within the intrinsically paradoxical nature of the “singular identity” notion — is it not true that our identities are an amalgamation of experience and reference? I’d like to think the answer exists in the way Downing portrays faces.