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Cable car by Suzanne Moxhay.
Suzanne Moxhay produces unsettling photographic work that occupies a middle ground between the staged picture, the tableau vivant, the dream-like unreality of a film still and the hyper-reality of reportage. This tension between a highly controlled artistic process, and an end result that leaves the viewer with a narrative urge to understand and interpret the image they are confronted with, is a trait shared with much contemporary art photography. From the mock realism of British photographer Hannah Starkey to the highly elaborate filmic work of American Gregory Crewdson, a manipulated 'reality' plays with the audience's expectations. Moxhay's work is often rooted in an imaginative, dream landscape where civilisation is at once present but simultaneously absent from the work. They call to mind the visionary writing of JG Ballard or genre films, like the western or horror movie, parallel worlds with their own rules and conventions. These constructed landscapes seem to exist outside of a specific history, yet offer ambivalent and very knowing versions of the apocalyptic. In a sense they have a link to a Ballardian sense of science fiction: a fantastic story that speaks in the...
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