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This image is from a series called Sailors' Valentine, an experiment in finding ways to deal with a place photographically, to create an image that is rooted in the actual place but eventually rises above and floats away from it in order to stand for something more fundamental. In this case, I wanted to see what would happen if I mashed up several of my subjective and romantic fascinations, such as space and organization; Paris; things near the water; edges of cities; Roman Polanski's film Frantic; bright overcast skies, etc. Strangely enough, I liken the process of these experiments to the chemical reactions in baking, and all the allusions to ingredients and their specific purposes, either practical or gustative, where the effect retains shades of those original ingredients but becomes something new. Ultimately, I'm looking for the image to hit a sort of perfect ambivalent balance, one that asks exactly as much as it tells.
Gregory Krum | See All Editions
Jen Bekman Gallery. He was awarded the Jack Goodman Scholarship for Art and Technology, and his work has been written about and published in the Paris-based magazine Purple. In 2007, he was co-curator of an art exhibition entitled The Wrong Store with Kantor/Feuer Gallery in New York, and he was a Summer 2007 Hot Shot. He curated a show on the fashion label Rodarte, which opened in 2010 at the Cooper-Hewitt, National Design Museum and Smithsonian Institution. Working within the genres of landscape and interior, Krum's work explores diverse themes such as love, failure, commerce and desire within a larger context of space and organization. His subjects have included dust, devotional offerings, seaside villages and Parisian houseboats.