RED ROOM No 42. AFTER WILLIAM EGGLESTON - Limited Edition of 5 Photograph

My gaze is often governed by the principles of the poets-minimalists: economy of detail, discovering hidden subtexts and insinuations in unseen objects and pieces of everyday reality, in the superficiality and mundanity of things. When I photograph, nothing is more or less important to me. I share this approach to photography with William Eggleston. "The Red Room" is a dialogue with Eggleston, "the inventor of color photography," as John Szarkowski described him. The semi-abstract photograph built on the stark contrast of intense red and black is thus a transmediation/intertextuality with his 1973 photograph "Untitled/Greenwood, Mississippi." Thirty-three years later, the random red interior and its dreamlike, surreal aura evoked in my "remembering gaze" that photograph and became the impetus for updating the problem of color in (digital) photography, the randomness of the photographic image, and the question of the hidden life of images in unsophisticated, snapshot amateur photographs. These are issues that marked new vectors of art in the 1970s, annexing the formal language of photography. Today they demand to be examined in a new perspective. But my "Red Room" has yet another root. Not only because the interior images are a kind of still life. My photography dialogues directly with another artist and his art: with "The Red Studio" ("L'Atelier Rouge") by Henri Matisse,1911. As a still life, Matisse's interior depicts his painting studio, the walls of which he covered with a rich cinnabar red to set his painting, sculpture, and ceramics against. This one of the most influential works in modern art, a precursor to color field painting (by Mark Rothko), has invoked my "remembering gaze" to actualize the problem of the formal language of today's digital photography (ml). Archived file: IMG_0142.raw

Photography:Digital on Paper

Artist Produced Limited Edition of:5

Size:15.7 W x 15.7 H x 0 D in

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