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“I find the unrehearsed, unconscious aspects of life the most beautiful to photograph, as they are most open to interpretation, to a narrative,”

“A dramatic moment has the single power of action, but tiny, linked moments are how we mark time on this earth – I am much more interested in recording the breath between words than I am the actual words themselves.” – Arne Svenson

Screen shot 2015-08-06 at 21.49.27I found out aboutArne Svenson’s very controversial series of photographs, Neighbours, from my tutor, Nigel Grimmer. The grid-like pattern of the window frames was very beautiful and gave the whole set a surreal aspect, almost as if the people were posing for Svenson in a finely arranged high-tech photoshoot.  Curiously, however, I found myself much more shocked at the photographs that Arne Svenson took than those of Merry Alpern. Although Alpern’s photos are much more explicit and, sometimes, partially show people’s faces, even if half-covered by another’s face in the midst of a kiss, they are taken in places that are inherently dangerous to one’s image. Many of those people would have been embarrassed to be surprised in a sex club, but they had known and made the choice to take that risk. Svenson, on the other hand, extends his objective into a realm that most of us expect complete privacy in: our homes. The home has a sacredness about it that makes it much more sacrilegious to violate. While we put on a suit and tie for the office, dress up our language and behaviour, it is in the womb of our home that we can stop doing things, stop dressing up, and start existing while wearing a ten-year old sweater, walking around half-naked or snuggling with our partner. (…)

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