20 November 2011

Intimacy in MoMa

Recently my work was presented at MoMa PS1. Saul Robbins - photographer, curator and Adjunct Professor of Photography at ICP - was giving a speech about three books by young photographers during NY Art Book Fair : Charlotte Zellerhoff's Day in day out, Stephen K. Shuster's Kelly and emptybottles of mine.
As you might be familliar with my emptybottles you should have a look at stories revealed by Charlotte and Stephen - all  three projects are our first publications and are based on a strongly personal perspective.

Many thanks to Saul, Charlotte and Stephen for leting me publish their efforts :)

Day in day out
photographs Charlotte Zellerhoff
words Saul Robbins

Charlotte Zellerhoff’s Day in day out is a small diary made mostly after breaking up with her last boyfriend. The images are somber, quiet, introspective, and extremely lonely. Absorbed by the sadness and depression she must have felt after their separation, each image instills Charlotte’s isolation and loneliness as paramount to her post-relationship experience of day-by-day existence. The flat in Berlin that Charlotte once shared with her ex-boyfriend is examined and expressed with subtle, monotone shades of imagery, implying an extremely slow passage of time and a capacity for self-reflection that is painful to contain. When we are allowed to glance outside, there is little reprieve from Charlotte’s anguish. What sunshine is captured offers little warmth, the security of home feels uncomfortably deceptive, and the trauma of ending a close, loving relationship haunts us with claustrophobic intensity.

photographs Stephen K. Shuster
words Saul Robbins

    Kelly, by Stephen K. Schuster, reflects back upon his two-year relationship with Kelly, a young woman as comfortable in front of his camera as any artist could hope for. At first glance Stephen’s book appears as a repository of rich experiences and deeply felt love, a memory book culled from thousands of tender glances and subtle observations made during his incessant image making. The examples of intimacy and closeness here are elegant in their softness, the quality of contact and distance, and the beauty of light that rests between these two, all while chronicling a story now finished. Looking closer, there are hints of independence and distance, signifying perhaps reservations between the artist and his muse. These subvert viewers’ desires for longevity, rendering our expectations and the appearance of a lovely young romance obsolete. Kelly is an elegy, revealing something less obvious from a distance, about a time once precious and sacrosanct. Perhaps, in a gesture of great trust, we have been exposed to the unconscious sensitivity of the artist that preceded their breakup.

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