Gregory Crewdson, constructing frozen scenes
“It has to look like the most natural thing in the world”: that could sum up the idea behind a large part of the work of Gregory Crewdson (New York, 1962), a photographer-constructor of paralysed scenes who works with large, elaborate series in which the care taken with the tiniest detail denotes an obsession with the idea of the superimposition of the simulacrum on reality itself, in other words, the primacy of representation in photography and contemporary art over other, more documentary tendencies. In Crewdson we find a strong inclination towards the cinematic, a vision contaminated by the way of making and watching films, as well as a particular way of narrating that moves between the writing of a screenplay, the staging of a take and the freezing of a moment propitious for the photograph. As well as his early works, done between 1986 and 1988, Gregory Crewdson has produced at least five series of photographs: Natural Wonder, in which he lingers in the natural world in a completely artificial way, preparing compositions with animals saturated with colour; Hover, a black and white series of a housing estate on the outskirts of an American city; Twilight, similar but with the author’s characteristic colours; Dream House, with scenes of the interiors of homes, and Beneath the Roses, a kind of urban history.
Juan Antonio Álvarez Reyes