Photographer Gregory Crewdson and his eerie rooms of gloom (The Guardian)

Carefully staged, the American photographer’s film-like scenarios in Cathedral of the Pines depict pensive women in banal yet strangely uncanny scenario.



The Den, from Cathedral of the Pines. Photograph: Gregory Crewdson

“One great thing about photography is that it kind of hovers between everything. It’s really easy to reach out to other mediums and have connections between things,” says Gregory Crewdson. In the American photographer’s series Cathedral of the Pines, currently on view at both the Paris and Brussels outposts of Galerie Templon, and heading to the Photographers’ Gallery in London in 2017, the evident overlap is with film: it was shot on an extensive production schedule over two summers and one winter in western Massachusetts. As with Crewdson’s previous series, such as Twilight or Beneath the Roses, his creative purview encompasses careful staging with a sizable crew, who attend to location scouting, set lighting, casting, makeup, props and storyboards.




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