In the present lot, Charles Ray presents a series of documentary Polaroid photographs starring himself as the subject, modeling the various outfits in his wardrobe. Aptly titled All My Clothes, this work challenges the traditional notion of the self-portrait. Despite being the centerpiece of each image, his own self is largely indiscernible, making the subject more so Ray’s attire than the artist himself. Each image is taken from a straight-on angle, his planted feet meeting the exact point of the horizon line where the white wall and gray floor intersect. From this vantage point, we are unable to decipher Ray’s facial expressions, making the only differentiating factor from one image to the next the outfit he’s fashioning. The Los Angeles-based sculptor and conceptual artist has explored the subject of clothing in many of his sculptural and media projects, including a later film entitled Fashions from 1996, featuring Ray’s friend and fellow artist Frances Stark modeling 100 different outfits. This focus on material objects is present throughout Ray’s oeuvre, demonstrating the artist’s interest in redefining the readymade concept in the postmodern era. In the present lot, his contemporary interpretation of the readymade involves not only everyday objects, but also the carrier of these objects: his own body. By stripping himself of any identity, the artist showcases his preoccupation with the effect of material objects on humans, presenting Ray as a victim to his own wardrobe in images which, in turn end up looking more like mug shots than fine art portraits. Through this aesthetic decision, Ray makes the overarching statement that we are all victims of a materialist culture, driven by consumerist desires and a lack of individuality