Tag Archives: Expectation

Matthew Gamber

One of the best rewards of being in Boston last week was meeting photographers.  I’ve been a fan of Matthew Gamber and his compelling imagery that challenges us to rethink how we see, think about and perceive color, so it was great to finally put a name to a face at the Flash Forward Festival.

Matthew holds a BFA from Bowling Green State University and an MFA from the School of the Museum of Fine Arts/Tufts University.  His star is on the rise as his work seems to be everywhere: included in the 2012 deCordova Biennial, the the Abstract Photography Then and Now exhibition at the deCordova, at the Flash Forward 2011 Exhibition, and last year at the Sasha Wolf Gallery in New York.  He has also been granted numerous awards and fellowships, and just got off the plane from Santa Fe, where he attended Review Santa Fe.

Matthew’s new project, Any Color You Like, is a bit like losing the sense of  taste right as you are about to bite into something you have been looking forward to eating, and the expectation of that enjoyment usually comes from the memory of having eaten it before.  By removing the memory and one of the senses, the experience changes. Matthew’s images look at objects that we have traditionally seen in color and that speak to the idea of color, and force us to see and think about them anew.  It’s a terrific project that challenges our perceptions, pays homage to an era where all objects were captured in black and white, but also creates tension (the bird image particularly) where the mind leads one to wonder about the image in color.  

The photographs in Any Color You Like are an experiment in how photography can confuse our perception of information. These photographs represent objects whose primary function is to simulate our observation of color. When these items are rendered in a traditional black–and–white format, the information that remains is merely an abstraction of its previous form.

Caleb Cole

Sometimes you see work that you fall in love with, and then you meet the person who created the work and you fall in love with the work a little more, because that person is so great. Such is the case of Caleb Cole and his wonderful series, Other People’s Clothes. I have been a fan of this work since it first knocked me out in the 2009 when juroring the Critical Mass offerings and I featured some of it on LENSCRATCH. Caleb has been hard at work completing the series, and is getting ready to create a book. But I’ll let him tell you about it.

If you would like to help Caleb bring this project into book form, you can donate here.

OTHER PEOPLE’S CLOTHES: At the heart of my work is a fascination with ambiguities and inconsistencies, an interest in how I go about negotiating areas of grey and how others manage to do the same. When I am in public, I watch people going about their daily routines alone; I wonder about the lives they lead, wonder how they experience the world around them and how they make meaning of it. I spend time inventing stories for them: narratives of isolation, of questioning and searching, of desire, and of confusion. The images in Other People’s Clothes are a product of my exploration of private moments of expectation, a visual expression of my experiences stepping into the shoes of the types of people I see on a daily basis. Each photograph in the series is a constructed scene that begins with an outfit or piece of clothing (either bought, found, or borrowed), then a person that I imagine to fill those clothes, and finally a location where that person can play out a silent moment alone. This moment is the time right before something changes, the holding in of a breath and waiting, the preparing of oneself for what is to come. Though I am the physical subject of these images, they are not traditional self-portraits. They are portraits of people I have never met but with whom I feel familiar, as well as documents of the process wherein I try on the transitional moments of others’ lives in order to better understand my own.

Photomontage: Imploding European buildings (with witnesses)


“Implosion #03, © Alban Lecuyer, from the series, Downtown Corrida

In his recent series of photomontages, titled Downtown Corrida, young French photographer Alban Lecuyer stops time at the precise moment of the deliberate destruction of old buildings, and then places that moment in an urban setting that he has constructed to suit the purpose of his art.

Lecuyer writes this about the series:

Inspired by American realism, people in the foreground define the place of all and sundry in this evolution. They seem to be waiting for something, a vanished environment or, on the contrary, a new one that hasn’t been built yet.

They’re looking at the show of the implosion as they would while attending a corrida. There is the symbolic space of the bull ring (the safety perimeter), the expectation of the deathblow (the countdown to explosion), and the carcass of the beaten animal (the rubbish). At the end, the audience generally applauds and the images of the demolition become a part of our collective subconscious.

Read and see more, including a high-resolution slideshow, in Lens Culture.


“Implosion #09, © Alban Lecuyer, from the series, Downtown Corrida