“I am never interested in the
individual, but in the human species and the environment,” the very idea that
encompasses Andreas Gursky’s work. He explores the objectives of how humans
interact with each other and in specific surroundings. These intentions are
noticeable in Ratingen [Swimming Pool]
in which he discusses humanity, spatial elements and the method of consumption.
Divisions of the planes arise from the natural colors in the scene of light
brown, blue a green but the spots of flesh also creates a link amongst the
photograph. The perspective of the camera creates flatness, a quality commonly
seen in Gursky’s photographs. In the 1980s, Gursky expands to outside scenes in
order to create a larger canvas and as a result, creates more distance from the
subject. His photographs are characteristic of a heighten view of the setting. Other
examples of this perspective as well as repetition include chromogenic color
prints, 99 Cent from 1999, a view of
store isles or Shanghai, view of
building levels from 2000. The distance of the camera or the viewer reshapes
the ideas of the sale figure and becomes about the population of the pool as a
whole. There is a detachment from knowing the individuals and interacting at
this pool setting. Also, there is a distinct feel of observation occurring. Lending
to the idea of photography as a documentation of human interactions as they
naturally occur, the individuals are unaware of the photographer’s presence As
a result, there is a division between the audience and the pool population. The
pool occupants become the art that us on display in a gallery.
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