Due to the intricate lighting and compositions, Max Pinckers (1988) creates images with several layers of depth, or moments of depth, that present themselves as stepping stones for the eye of the beholder. Perspective is used to create a varying range of folded, harmonica-like spaces. As a result, the photographs seem to depict a space that is alive, like a forest, but also a space that functions as a theater set or the set of a photo studio. The effect of these compositions is double: they reinforce the impression of an artificially arranged space, but at the same time they enhance a feeling of poor housing and entrapment. They evoke the wondrous creative power of artists, but they also remind us of our own meager attempts to shape ourselves into presentable beings. We meet anonymous cyclists, lady boys and amateur bodybuilders, all trying to become somebody new or trying to look like somebody else. Already, Max Pinckers’ oeuvre shows itself as a baroque mirror palace, always poetic, buzzing with secret meaning, never forgetting to be deeply human. And then we meet the photograph of the well: a strangely lit hole, a sculptural proposal, an official emptiness, a new frame for the image to be.
Text by Hans Theys
Will They Sing Like Raindrops or Leave me Thirsty
The work revolves around the expression of love in India, including its problematics and wondrous beauty. A key subject throughout the series are the Love Commandos, an organisation who help young runaway couples from harassment and prosecution by their disapproving families. One such couple started their relationship by secretly talking to each other across their rooftops. This inspired me to stage an image based on this event.
Max Pinckers (1988) grew up in Asia and then moved to his native country of Belgium where he attained an MFA in photography with greatest honours at the School of Arts (KASK), in Ghent.
Pinckers's work is largely oriented around long-term subjective documentary projects presented as photobooks and installations such as ‘The Fourth Wall’ and ‘Will They Sing Like Raindrops or Leave Me Thirsty’. With its carefully constructed interplay of reality and artifice, his work channels this hazy nature of photography, and uses it to its advantage.
His work has been exhibited internationally, including Bozar - Centre for Fine Arts, Brussels, Belgium; Fotomuseum (FoMu), Antwerp, Belgium or Flanders Center, Osaka, Japan, amongst others. Recent publications include Time Magazine; The Guardian; De Morgen Magazine, British Journal of Photography.
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