| Materials |
Photograph |
| Height: | cm. 222.00 |
| Width: | cm. 279.50 |
19.01.08 | 28.04.08
Thomas Struth
Paradise 30
2005
Courtesy :
Courtesy the artist
Struth’s interest in nature as an independent photographic theme emerged for the first time in the Garden am Lindberg series, commissioned in 1991 by a private clinic at Wintherthur, in Switzerland, to be exhibited in the rooms of the patients. Taken in the park that surrounds the clinic, the series consists of photographs on a small scale and intimate in character of flowers and gardens taken with the same penetrating power of observation as the portraits. In them we sense the curiosity to penetrate a strange and surprising world, yet one that is familiar and domestic. A world essentially only domesticated by man but substantially "other", which in the following series Paradise (1998-2001) is revealed in all its obscure and elusive fascination as the original antagonist of man in the struggle for survival, before the progress of technology changed the nature of the relationship. The title of the series recalls the myth of the Garden of Eden, in which man never needed to work or produce and therefore to change nature to live: a condition in marked contrast with the drama of history and, above all, with contemporary reality. Set in the rain forests, deserts and jungles of Japan, Australia, China, America and Europe, these large-format photographs represent segments of luxuriant, unspoilt vegetation covering the surfaces of the prints without a break, evoking potentially endless and absolute space. The inexhaustible range of greens gives the images an almost abstract pictorial quality, a quality that marks a clear evolution compared with the "sculptural" character of the photographs from the early eighties, still influenced by the work of the Bechers and authors like Karl Blossfeldt [1865 –1932]. The scarcity of any socio-cultural element endows the image with a meditative quality and suspends the reflection of the viewer in an ahistorical present. The dense vegetation, in which the ramifications make it impossible to isolate individual details, creates a nearly impenetrable place, before which humanity, suddenly small and deprived of his spatio-temporal coordinates, feels a slight sense of bewilderment.
Born at Geldern in 1954, Thomas Struth began his artistic training by studying painting under Peter Kleemann and Gerhard Richter at the Kunstakademie of Düsseldorf ...
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