Gideon Bosker (EN)

“What’s at stake in the complex and dazzling images in Photopoiesis: The Metapolitan Amuseum . . . is consciousness in place of intention: consciousness past, consciousness passing and—now, of course—the consciousness to come that’s simultaneously arrived. What originally cast its spell on the photographer’s eye never fully emerges on site, but only afterwards: by process of collating, superimposing, and excerpting in a final image that is just as much a crucible . . . It’s a method akin in many ways to that of scientific discovery, involving interrogation, dissection, experimentation, alteration, and reconstruction—an image-mutating approach that culminates in an astonishing range of typologies and pictorial phenotypes, from the quasi-representational to the margins of abstract expressionism . . . The photographs in Photopoiesis are never just one image—even prior to their repurposing. Each image is an archive, an assemblage, a composition where what matters or materializes in the realm of consciousness only ‘matters after,’ where meaning and revelation abide.”

WILLIAM GALPERIN
Distinguished Professor, Rutgers University, USA

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"Photopoiesis affords a way of exercising the photographic imagination to connect things—among them, light, colors, forms, and subjects—that you don’t immediately think of as connected. By the time it’s all over, I see tableaux that represent the disorienting but delicious after-flames of primary sightings I believe we are all destined to see . . . The impact and visual content of an image come to life, counter-intuitively, not at the moment it was first created, gleaned, and perceived, but much later, in the form of assembled after-sightings reformulated over time. It’s another way of saying, 'Photopoiesis will show you what I saw—deeply saw, in fact—but never at the precise moment or in the way I first saw it.’”

Gideon Bosker