With a delight that is tinged with a morbid sensuality, Patrick Weidmann’s photographs delve into the world of luxury products turned out by the postindustrial society.
In the catalogue of the artist’s motifs, we find fragments of smooth glistening bodies, the chrome of an automobile body, details of a funfair, the endlessly multiplying glints of a broken mirror. This partial inventory reveals a taste for the flashy, sequined symptoms of a consumer society swallowed up by the luxuriance of a proliferation of objects.
The artist’s decision to frame his subjects close up lends the captured reality the look of a disturbing abstraction, whilst the effects of blurred imagery and misty colours alternate with the splendour of the polished materials and the seductive brilliance of the silvery gleams.
It is the fetishes of the social and economic world that draw the Genevan photographer’s eye: car shows, shopping malls,glamorous events, airports, and of course, women, bared and artificially rendered, every-where present and everywhere represented. The objects of desire are distanced from the context they appear in and their bright colours are only the signs of promised joys that have gone unfulfilled.
Along with his photography, Patrick Weidmann also is active as a writer and has published novels and short stories that extend his thinking on the eroticisation of the consumer aesthetic.
In the catalogue of the artist’s motifs, we find fragments of smooth glistening bodies, the chrome of an automobile body, details of a funfair, the endlessly multiplying glints of a broken mirror. This partial inventory reveals a taste for the flashy, sequined symptoms of a consumer society swallowed up by the luxuriance of a proliferation of objects.
The artist’s decision to frame his subjects close up lends the captured reality the look of a disturbing abstraction, whilst the effects of blurred imagery and misty colours alternate with the splendour of the polished materials and the seductive brilliance of the silvery gleams.
It is the fetishes of the social and economic world that draw the Genevan photographer’s eye: car shows, shopping malls,glamorous events, airports, and of course, women, bared and artificially rendered, every-where present and everywhere represented. The objects of desire are distanced from the context they appear in and their bright colours are only the signs of promised joys that have gone unfulfilled.
Along with his photography, Patrick Weidmann also is active as a writer and has published novels and short stories that extend his thinking on the eroticisation of the consumer aesthetic.
