Douglas Mandry
DOUGLAS MANDRY’S WORK DIGS DOWN INTO A DEEP RESERVOIR OF PHOTOGRAPHIC PROCESSES TO CREATE IMAGES THAT INTERFERE AND INTERRUPT OUR WAYS OF SEEING THEM.
In his books and exhibitions, Douglas revives older photographic processes and blends them with new ones, making visible the too-often invisible—or purposely hidden—zone where reality and representation collapse. What does it mean, after all, to attempt to capture landscapes or natural climates that are being degraded and destroyed? In Douglas’s work, the merely traditional photographic document is not enough; it does not get at the problem of a disappearing and disintegrating world during the Anthropocene.
Perversely, rather than repeating nostalgic or sentimental histories of the image, his anachronistically altered abstractions and vividly colorful reconstructions vector toward an aesthetic of possibility and potentiality. Douglas’s work suggests a new way of seeing the world and its many complicated processes. Initially compelling us with their interesting and visually magnetic allure, they ultimately encourage a rethinking of the way that images are complicit in creating the past and present, and the way they might inform and build the future.
Produced under lockdown in Switzerland, this gallery from Douglas for TSUKI is quieter and more intimate in scope that his prior work, but still maintains the same visually kinetic energy, one where photographic processes compete and collide for our pleasure and bafflement.
We talked to Douglas about his life and work during lockdown.
HOW DO YOU CREATE AT HOME? HOW HAS THIS BEEN DIFFERENT FROM YOUR REGULAR PROCESS?
I usually have a hard time narrowing down my ideas without definite constraints when developing a project. This is an important step in my work, since it gives me a frame to play around with. Being at home was a constraint, and I love to improvise with what I find. I didn’t look for challenging technical things, rather just enjoyed a mix of what I usually do—some sort of collage with more straight-forward photography. The body of work here is made of things I’ve shot in my neighborhood as well as various experimentations with objects and images I could find at home.
HAVE YOU BEEN ABLE TO WORK IN YOUR NEIGHBORHOOD OR YOUR STUDIO DURING THIS SITUATION? OR IS IT JUST FROM HOME?
In Switzerland, the lockdown wasn’t as strict as in other countries in Europe. I have been able to enjoy a bit time in the neighborhood, although mostly staying home.
HAS THIS SITUATION ENCOURAGED YOU TO TRY SOMETHING NEW?
I rather enjoyed the time for thinking, reading, and reflecting on a lot of future questions regarding my work and society. It has been a chance for me to take a deep breath and slow down my usual rhythm. It is too rare not to be enjoyed.
HOW ARE YOU STAYING INSPIRED AND MOTIVATED?
I read a lot, and use social media and the internet to keep connected with what happens, and I dive into archives on a daily basis to find inspiration.
HOW HAS LOCKDOWN LIFE ALTERED YOUR WORK?
Most of my work is dependent on me travelling. Since all my current projects were based on specific places in the world or even in Switzerland, I had to put everything on pause, which was at the beginning quite frustrating. I rarely stay home for too long, but I tried to accept it as a chance to adjust my way of living and working.
ARE THERE ANY POSITIVE (OR NEGATIVE) CHANGES YOU CAN SEE COMING OUT OF THIS SITUATION?
I hope our behavior will evolve and that we take the chance to improve in the future, whether it is our relationship to climate, or to one another, and that we will take lessons from these difficult times.
HAVE YOU BEEN WATCHING, LISTENING, OR READING ANYTHING INTERESTING?
I have read a wonderful book about Swiss sculptor Not Vital, SCARCH (Hauser & Wirth) about and his relationship to architecture and hometown region of Engadine. Also interesting is Hyperobjects: Philosophy and Ecology After the End of the World by Timothy Morton. And finally, I wanted to read about what artists did during and after other historically difficult times: The New Monuments and The End of Man by Robert Slifkin, about post-war movements and positions in art.