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| Geir Moseid | |
Geir Moseid, born 18.12.78 Oslo, Norway. Lives and works in London. |
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| 关于此艺术家 | |
My work incorporates issues such as social segregation, alienation, loneliness, confrontation and human relations. I draw inspiration from self experience, cinema, music and various art. |
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| 按此以放大图像 (假如你已上传更大的图像) | |
From the series Plucked
2008 |
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| The series Plucked is an investigation into the duality of the home, urban alienation, social segregation and human relationships. This duality of the home extends further, adding layers to the series, incorporating the ethics of both social documentary and staged photography, as well as the possible cognitive dissonant experience of the viewer. This dissonance was built around notions of ambiguity and the uncanny. |
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From the series Plucked
2008 |
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| The home is often known to be a safe space where one can be private and intimate. The home has a sentiment of security that is built around the fact that we can seclude ourselves, distancing oneself from the interference and surveillance of others. It is with this point that its most problematic duality is made evident. The home is a harbourer of some of humanities gravest crimes. These crimes occur behind closed doors, including physical, sexual and psychological abuse. |
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From the series Plucked
2008 |
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| The image of the curtain comments on the seclusion of the home in that it is the only escape from within the living environment. However, the glimpse of hope leading out through the curtains will only lead the viewer directly into another set of closed curtains, emphasizing the privacy and isolation that the home can bring. The raindrops were incorporated in the image when shooting for the third time. They stand in as a metaphor, not only for the potential perplexities of life outside the house, but also a reference to my Norwegian upbringing where the weather sometimes restricts physical human interaction. |
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From the series Plucked
2008 |
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| It was important for these hands to be ‘labouring’ hands in order to establish a dialogue with class-based economics. It is also important that the hands are mending the garment instead of simply replacing it. By doing so I am commenting on the obsession in society to possess material goods. |
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From the series Plucked
2008 |
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| By depicting something that is familiar, yet strange, or appealing and repulsive at the same time is often regarded as a signifier of the depiction of the uncanny and raises contradictory beliefs (cognitions) for the viewer, encouraging the viewer to create his/her own opinion, which is hopefully based on the emotion that the photograph offers the viewer. The images are talking about the everyday with a calm and beautiful surface, but that, on closer inspection, raises question about the apparent peaceful depiction, juxtaposing the viewer’s emotional response to the photographs with a subtler sinister undercurrent. So the boy in tub might just be having a bath, yet the dialogue with death is present. When this emotion is strong enough to allow the viewer to travel back through their personal history, to where a similar emotion was encountered, the viewer is removed from the physical object, that is the photograph, and the situation it is depicting. This journey is a personal reflection that considers social truth. This is emphasised by the deliberate open-ended narratives and cognitive duality of the series, encouraging a subjective journey through the work rather than a dictated reading. The subjectivity is also important in recognising scenarios through the viewer’s experience of the everyday. This is also in dialogue with the viewer’s memory vault of images derived from painting, cinema and TV and helps the viewer in understanding a visual, gestural language. It is related to a subliminal aesthetic pleasure that is not, as I understand it, dependent on authenticity, hence verifying the staged documentary photograph as a relevant approach concerning social understanding and investigation. By staging specific moments of everyday narrative my work is confronting the way in which social truth should be depicted. |
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| 教育程度与个人自传 | |
| Education: 2005-2008 London College of Communication. BA (Hons) Photography 2003-2004 School of Art and Design. Photography.Oslo |
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| 未来的展览 | |
| 20th of September - 18th of October 2008. Solo show at Flowers East. London | |
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