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GREGORY CREWDSON: CATHEDRAL OF THE PINES

I find I can rely upon the culture section of The Guardian for many interesting articles about photography. If you have been on my courses you will have found that I talk about Gregory Crewdson, his images are cinematic in many aspects, both the nature of their creation and the sense they provoke. He has a new exhibition called Cathedral of The Pines and it is reviewed in the The Guardian

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‘They were more difficult because they were less spectacular’ … Father and Son, 2013. Photograph: © Gregory Crewdson / Courtesy Gagosian Gallery

In 2013, in retreat from “a difficult divorce”, Gregory Crewdson moved from Manhattan to a converted church in rural Massachusetts. “I had to relocate myself, physically and psychologically,” says the photographer. So he spent his time mountain trekking, long-distance swimming and, when the winter set in, cross-country skiing.

“I was out in the snow one day when I came upon a sign for a section of the Appalachian Trail called Cathedral of the Pines,” he adds. “It stopped me in my tracks, just the resonance of the name. I knew I had to use it.”

The resulting series is more sombre, foreboding and inward-looking than the meticulously staged cinematic photographs that made his name. It opens this week at the Photographers’ Gallery in London, the first time the institution has devoted all its gallery space to a single artist.

Cathedral of the Pines took two and a half years to shoot and, typically for Crewdson, required the kind of preparation that usually attends a Hollywood film: months of casting, location hunting and storyboarding, with an extensive crew to oversee lighting, props, wardrobe, makeup and even some special effects involving artificial smoke and mist.

The new exhibition can be seen from the 23rd at The Photographers Gallery

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Gregory Crewdson The Haircut, 2014 Digital pigment print Image size: 37 1/2 × 50 inches (95.3 × 127 cm) Edition of 3 + 2 APs © Gregory Crewdson

“By my standards, it was relatively restrained,” he says, laughing and citing his 2008 series Beneath the Roses, which cost as much as a mid-budget movie and entailed four city streets being closed down for shots that required rain and snow-making machines.

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Gregory Crewdson The Motel, 2014 Digital pigment print Image size: 37 1/2 × 50 inches (95.3 × 127 cm) Edition of 3 + 2 APs © Gregory Crewdson

Cathedral of the Pines was challenging in a different way. “These pictures are smaller in scale and, to a degree, they were more difficult because they were less spectacular. You have to create meaning and atmosphere in a more intimate way, which makes lighting, for instance, a lot more challenging.”

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Foreboding … Mother and Daughter, 2014 Photograph: © Gregory Crewdson / Courtesy Gagosian Gallery

see more pictures and read the rest of the review in the Guardian here

find out about the exhibition at the Photographers Gallery here

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