Gregory Crewdson, an American photographer born in Brooklyn New York 1962, is best known for elaborately staged, surreal scenes of American homes and neighbourhoods that are designed to look like a surreal tableaus of suburban life. In 1985, he received a BA from the State University of New York-Purchase College, where he studied photography.
Gregory would see himself working in an American tradition of artists who explore the intersection between everyday life and theatricality such as Diane Arbus and William Eggleston.
One of Crewdson’s earliest projects was Natural Wonder in 1992 where he constructed thoroughly composed studio sets, using, for instance, stuffed birds and small animals, which follow their own rituals and laws and thus elude human understanding. Gregory placed severed limbs in settings where nature has overrun the human environment and developed an uncontrolled life of its own. His visual vocabulary lies somewhere between a fairy-tale-like romanticism and the classic horror aesthetic.
With this project finished, the photographer continued this contemporary style with extra development by using people and a larger studio (sometimes using its equipment outside). Gregory Crewdson would use a Sinar 8×10 camera with a large film crew.
Above is a chosen image of mine which was one of Gregory Crewdson’s photographs from the Twilight series that features a teenage boy in a bathroom with his hand down the shower’s drain. The photographer’s inspiration to create this photograph was a moment he had when he was younger where his father was a psychoanalyst bringing patients round the house for interviews while Gregory would eavesdrop from upstairs through the floorboards.
I really like this image with its strong storytelling through the brightness of the bathroom and the darkness of the drains down below, my main reason to be inspired by this image, is that when on closer inspection, many metaphors could possibly be imagined (mainly about society in general) such as a human being learning both what to experience and avoid in the world for example. Also in my opinion, the drains down below have a beautiful underwater colour scheme of blue, since the blue tiles still roughly match each other in the photograph’s exposure, this means that their all the same colour that can show that the activity may not necessarily show an image of innocence reaching for the evil. My reason that I think this space may be underwater, is that the boy’s arm reaching in this dark space is looking paler than the rest of the skin up above. This shows possibilities of an underwater drain beneath the surface. Overall, this evidently shows how I would see this favourite aspect in the photograph.