Mystique, elusive, simultaneously sad and dark. Gregory Crewdson’s new works overwhelm the viewer with questions. What, how, why? Curiosity has always been a big part of human nature and Crewdson knows it well.
The images depict a moment of stillness, that has been highly anticipated and captured at a precised time. While looking at the works, you know the artist is confident in his choices. He might be vulnerable, but in control and everything depicted has been highly calculated. Some stills recreate the golden ration in composition and a feeling of Déjà vu awakes in you. The beauty of these works lays in their narration, they seem to be part of an untold story, similar to a puzzle piece that you can take and place wherever you want it to fit, your imagination can take over where Crewdson left it.
There are interesting linkages with great eras of art history. When you look at ‘Father and Son’ (our first photographic selection) one finds great similarities with Jacques-Louis David’s Marat. These two works not only share a similar color palette, but the naked flesh that captures the light, foreshadows a greater departure for the leading figures.
Coming from Crewdson’s very personal place, these images have an unconscious source. When he was working in Rome, over five years ago, his marriage fell apart and he endured a very dark period. In an attempt to regain some stability, he stopped working and moved from New York into a tiny rural town called Becket, Massachusetts. Finally, one day, the moment of revelation appeared, like a cloud had lifted. He envisioned the body of work and understood the serendipity of living on a trail called “Cathedral of the Pines”.
A fully-illustrated book will be released by Aperture.
‘Cathedral of the pines’ is currently showing at Gagosian Gallery, 21st Street.
Exhibition runs until March 5.