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Théo Gosselin
Originally from Le Havre in the Haute-Normandie region of northern France, photographer and filmmaker Théo Gosselin currently divides his time between Paris and Amiens.
Whilst clearly indebted to the photography of Ryan McGinley, Nan Goldin and Larry Clark, unlike the self-confessed "pseudo-fiction" of McGinley's work, the subjects in Théo Gosselin's images are friends rather than models, and the situations are not mythic constructions but glimpses of an underground lifestyle in a post-9/11 and post-AIDS world in which social media has blurred the boundaries between public and private, and between being documented and simply being.
At times, Gosselin´s work approaches something akin to poésie bucolique; his photographs representing modern day pastoral landscapes that resemble 21st century equivalents of Poussin's Et in Arcadia ego, Manet's Déjeuner sur L'herbe or Cézanne's Les Grandes Baigneuses. At other times, his images capture moments more resonant of Bacchanalian scenes painted by Titian, Rubens or Levêque.
Deliberately cinematic, Gosselin's photography reveals friends in the act of escaping from their regular lives into newly enticing and perilous modes of existence, ever in search of the persistent though elusive idea of freedom.
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The debut monograph from Théo Gosselin. A curation of the photographer's most interesting work to date presented in a limited edition hardcover book. This First Edition is limited to just 460 numbered copies.Originally from Le Havre in the Haute-Normandie region of northern France, photographer and filmmaker Théo Gosselin currently divides his time between Paris and Amiens.
Whilst clearly indebted to the photography of Ryan McGinley, Nan Goldin and Larry Clark, unlike the self-confessed "pseudo-fiction" of McGinley's work, the subjects in Théo Gosselin's images are friends rather than models, and the situations are not mythic constructions but glimpses of an underground lifestyle in a post-9/11 and post-AIDS world in which social media has blurred the boundaries between public and private, and between being documented and simply being. Deliberately cinematic, Gosselin's photography reveals friends in the act of escaping from their regular lives into newly enticing and perilous modes of existence, ever in search of the persistent though elusive idea of freedom.
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