Other than the stoic masks, the series also includes a number of images of humanoid shapes and swine-like forms stewing in acidic juices. With their pillowy and wrinkled limbs squished into vitrines, the creatures are eerie and life-like, causing the viewer to question their relationship with fantasy and reality. Bo deliberately challenges the perception of photography as a concrete indicator of truth, instead high- lighting how easily we can be taken in and manipulated by the image.
In itself, the series – which Bo intends to turn into a book in the near future – employs digital image manipulation and photogrammetry (the ability to make measurements based on photos). The plaster masks were created on image analysing software and designed into 3D models that were later printed on a colour gypsum 3D printer. In this sense, the objects are real, but also not – they disrupt a fixed understanding of the world.
For Bo, photography is a matter of storytelling, of creating a deeper psychological visual story. When, in 2017, the opportunity arose to photograph one of his idols, David Lynch, for example, the photographer says that he “wasn’t going to settle for a mere mugshot – I needed to create a unique context (significant, primarily, for me).” The final portrait, David Lynch, the Vessel & the Baby, depicts an inquisitive looking Lynch peering up at a bulbous laboratory flask containing a baby figurine squeezed inside. According to Bo, Lynch’s “mystical fluctuating world filled with questions whose answers are hidden in our subconscious and others to which you wouldn’t want to find the answers to” was a significant influence on his own work. It’s no wonder then that when asked to describe his practice in three words he opts for “symbol, metaphor, irrationality.”