I grew up in a town near a big city. No matter its name, all locations around the capital are roughly equal. Before becoming a large urban center, these cities were small towns during the sixties, where many people from all over the country came with the idea of working in the capital.
Zoom in. The camera rests low on the back of a man who is holding a cigarette in his hand. What do we know about this scene? The man seems decently dressed, with his striped shirt neatly tucked into his marine trousers. His leather watch and golden wedding ring suggest a traditional domestic life.
In the series “Congratulations, You’ve Made A Wonderful Decision,” I photograph various physical scenarios played out against a digital flatscreen. The images incorporate materials from around my home and studio, a chicken and my body, fire, rock, water etc.
In 2013, I survived a serious car accident. I was close to death, and reality – one that I had been adapting to with difficulty – slipped through my fingers. This misfortune brought about another: surgeries, months of physical limitations, a breakup, and the return and aggravation of anxiety neurosis.
This work was carried out re-elaborating a group of 4×5 inch negatives bought in a second hand shop in Brooklyn. They were taken between the end of the fifties and beginning of the sixties very probably by the same person within an area which is relatively near New York City.
For centuries – and until not long ago – the Alps represented an ‘unknown land’ for man, a true literary myth, full of references and suggestions linked to the most diverse legends, which in many cases, were frightening and however the result of fantasies that occur almost identically in folk tales of not even geographically contiguous places.
Gordon’s interest in terms of subject matter lies in a series of binaries that frequently coexist in his photographs: fecundity and decay, masculine and feminine, wholeness and fracture, artist and muse. These dualities are underscored through the process itself: gobs of glue are left visible, torn edges are left raw, forms fuse and separate before our eyes, teetering between completion and dissolution.
This is a bit hard to describe without sounding like a complete fool, but perhaps being a fool isn’t so bad. While I was at university I was living in English suburbia and I was surrounded by some pretty good hedges. I thought it would be quite funny to ride my bike into them and somehow take photographs of it.
«Apprendre à se détacher de tout sentiment»
«Essayer d’entrevoir l’imperceptible»
«Capturer des scènes des plus banales»
Voici ce qui pourrait très bien résumer cette série d’images.
Notre quotidien est envahi par les structures de l’artifice humain. Pour s’en échapper nous formons dans nos espaces publiques de petites sphères intimes dont nous devenons les gardiens et qui nous semblent protectrices. C’est ainsi que nous constituons de nouveaux mondes artificiels servant à alourdir un peu plus notre structure commune.
Mon oeuvre se définit globalement comme une exploration de processus psychiques, notamment liés à des « traumas » ou attachés à l’histoire familiale . Elle s’exprime par une palette large, faite de multiples : elle convoque la photographie souvent mais aussi le dessin, l’écriture, le collage, la couture
15,000 miles on the road … stopping off 11, 12, 13 times, heading off again as many times. Crossing 36, 37, 38 States, fingers trigger-happy, exhilarated at the idea of capturing the American dream…
I start from the premise that if my eyes are not troubled, eyes of the beholder cannot be troubled. To do this, darkness, fog and night plunge me into favourable contexts in relation to my desire to create images. These few pictures from the series «Untold Stories» show what I am looking. They were taken between 2013 and 2015.
At night you can see hundreds of stars at the ceiling and during the day a sunny landscape must be viewed.
This shelter was built in the seventies as a protective response to nuclear warfare. At the moment the building is on hold to be incorporated into the policy to receive tourists. The whole house is built under the ground, including as much natural elements as possible.
Je fais des photographies lorsque je sors de ma propre vie.
Chaque année, je voyage.
Je prends le temps.
J’observe le monde.
‘Tell me her story because War is only the half of it’ is a documentary project based on my family immigration history from Poland to France in 1938.
Nietzsche believes that our life is a kind of cycle, and the life and lives seemingly belongs to ourselves, in fact, has occurred in the world in an unseen way. Our lives can be previewed, and someday our lives will be reproduced in the same way that we have experienced, while the former will repeat itself indefinitely.
However, the basis of the existence is that the world is absent of reincarnation, lives cannot be rehearsed, what’s more, we can neither compare it with our past life nor make it perfect and then spend it again.