American artist Gregory Crewdson (b. 1962) makes museum-style, cinematographic photographs, which are staged in great detail. Recently, his latest series Eveningside presented at Reflex Amsterdam gallery.
Interview: Kirstin Hanssen
The signature of his photographs is unmistakable. Single frame movies he calls them himself. 
Photographer Gregory Crewdson approaches his photographs like a film director. With a huge crew, he builds sets to visualise scenes he has often conceived long in advance. At the time Gentlemen's Watch speaks to Crewdson, he is in the early pre-production stages of a new series. That starts with hours of driving around and scouting locations. "Locations are the basis of my work," he explains. "I grew up in Brooklyn, New York. My family had a log cabin in Massachusetts and in my childhood we used to drive there every summer. I think it was during that time that my fascination with suburbs, but perhaps also with the mundane and anonymous, was born.
The spots set for Eveningside are situated in two adjacent US suburbs. After all, travelling a lot is not an option when working with a large crew. Moreover, as an artist, I like to focus on one specific area and go into depth there, so to speak. We produced this series in six weeks."
Secluded from the world
At Eveningside - consisting of twenty digital pigment prints measuring exactly 87.6 x 116.8 cm - Crewdson explores moments of contemplation within the constraints of everyday life. The characters in the photographs are sparse and often seen through shop windows, in mirror reflections or positioned in the midst of their daily routine. For example, in a beauty salon or on the street. Where in previous work colour use acted as a layer of beauty, this time Crewdson opted for a monochrome elaboration of the images. Black and white, in other words. And many shades of grey. "This makes the pictures more intimate and extra hushed. I love the history of black and white photography and of film noir in which everything is about the right lighting. You can see that in this series."
Gregory Crewdson's authentic images are not easily digestible. As a result, they force closer examination and reflection. Those who take in the photographs discover that a mutual narrative is lacking. Yet they show a strong common denominator: an ambience of loneliness with an uneasy undertone of fear and disconnection. The characters seem to be in an 'in-between zone'. What are they waiting for? Or are they processing something that has just happened? As a viewer, you are left with these questions, letting your imagination run wild. This is exactly the creator's intention. He adds, "My work is not autobiographical per se, but it does contain psychological elements that I recognise. Alienation is part of the photography profession. Being alone, dislocated, alienated... While photographing, looking through a viewfinder, I feel isolated from the world. It's also about connecting with something bigger than myself. This is why I photograph. For that one fulfilling moment when the world matters."
Hope and redemption
The documentaries Gregory Crewdson: Brief Encounters (Ben Shapiro, 2012) and There But Not There (Juliane Hiam, 2017) show the photographer's intensive working method and reveals how the scenes he captures are completely staged. "Still, we cannot influence everything during production. Weather conditions, for example. Sometimes you need snow, but it has melted. Then we work with fake snow or move real snow to the location. There is something unexpected in every photo. That's how it is with photography. Whether nature has a symbolic value in my work? Nature is the opposite of culture and something over which, as mentioned, we have no control. Natural elements, such as trees or flowers, for example, represent hope and redemption in my work. I love the tension between nature and man-made structures and find it interesting to reflect that. That is why the streets in my photos are almost always wet, as if it has just rained. That too is nature. Although in reality, it is often the local fire brigade that provides the water."
Religious swimmer
Gregory Crewdson has been active as a visual artist for more than 30 years. His work hangs in leading museums around the world, including MoMA in New York, Victoria & Albert Museum in London and Fotomuseum Den Haag. He trained at SUNY Purchase and Yale School of Art, to which he is a professor of photography. "I work with central themes, with a story that emerged as I matured as an artist. That is also what I impart to my students. Everyone has a certain way of looking at the world. Find your story and discover how to get it in physical form in the photograph. Know your limitations and your strength. I choose certain inspirations, films, arguments, motivations and keep fighting the 'battles' that arise during the working process. But, I don't really change. As an artist, you cannot remove yourself from yourself. As a result, the central narrative is unwavering, so to speak.
It is almost inconceivable, but besides photography, Crewdson has another passion - swimming in open water. "I always say I'm a religious swimmer. I just have to swim every day. No, not in the early morning, but usually by noon. I do need coffee first. Swimming is a kind of meditation. It helps me get out of my head for a while and not think about pictures."
Gregory Crewdson is represented in the Netherlands by gallery Reflex Amsterdam.
STYLE PASSPORT GREGORY CREWDSON
Camera: Phase One
Director: Alfred Hitchcock
Artist: Johannes Vermeer
City: Great Barrington, Massachusetts (USA)
Watch: Garmin swimming smartwatch
Transport: Volvo XC90
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