THOMAS GOSSET | BORDEAUX, FRANCE
Thomas Gosset is a 34 years old self-taught artist born in Bordeaux. Initially inspired by «Les Récréations photographiques» of end of the 19th century and the Avant-gardes of the 20th century, he reinterpreted them a century later in oder to offer a contemporary surrealist and subversive photography. He discovers the fragility of his practice after the theft and the destruction of all his negatives, draws and notebooks in Paris in 2013.
He decides then, to free himself completely from his previous work by focusing his research on the deep meaning of the image and its genesis, which will lead him to the very heart of the photosensitive matter. The result is a pictorial, chaotic photography with a tragic beauty in which tattered bodies rub with faceless souls. Those figures bear the irreversible scars he inflicts on his negatives, by mutilating or recomposing them.
What is your work about?
Here is the cruel dark surrealist tale of raw and informal beauty that will be shown through this series. By confronting economic and social references with an oniric vision of the world, the artist pushes reality to it’s limits in an attempt to extract it’s hallucinogenic powers.
An imagination under tension portraying the invisible and absurd, often tainted with horrific sensuality, questioning the place of the individual in an almost preacher-like pre-apocalyptic universe. Under a smouldering black balm, this contemporary mythology expresses a deep cold anger.
Shots of rage are revealed in a liberating act of destruction, just like others attack the new modern idols by painting on walls of fury. This mad chemist of an artist brings the public as close as possible to photographic accidents where alienating whirlpools meddle with black holes of disenchantment, fractured universes or the void.
These “psychedelic” photographic emulsions are the result of meticulous work in darkroom. They invite the spectator to introspection and reflection, to get rid of the superfluous in order to confront his/her own primitive imperfection.
How does photographing on film (or using your material photographic process of predilection) inform your artistic practice?
This series of photos is realized from partially altered films, cut, abraded mechanically or chemically and then manually recomposed . The films are occluded or raised with ink and paint until the image mentally idealized by the artist takes form. Further to this process, the sustainability of the films is random and the edition on silver gelatin paper in darkroom must be made for a certain deadline .
I destroy my own films with the intention of entering in the very heart of the photosensitive material, which allows me to have a direct control over the frozen reality that I destructure at will. The goal being to understand this matter as painting with the intention of pushing back the normal process of photography to expand my own field of investigation and thus regain an imaginative and narrative freedom. For years I wanted to freeze absurd moments in reality. However, after the loss of my work, of all these moments that I will never find again, I had to assimilate the fact that to maintain this same desire, it was necessary not to go around the world awkwardly but rather to seek it deep inside me. Which then passes through a plastic recomposition of my practice and hence of the photographic material in itself.