Gregory Maitre‘s photographs are rooted in the processes and artworks of the Cubists and Nouveau Réalisme – an artistic movement founded in 1960 by the art critic Pierre Restany and the painter Yves Klein who sought new ways of perceiving the real – as well as the work of the Italian Futurists and Arte Povera whose work grew out of the radical conjoining of politics and art in defiance of the values of established institutions of government, industry and culture in Italy, during the late 1960’s and early 1970’s.
These modernist influences combined with a defined socio-political sensibility have led Maitre to develop a digital methodology that confronts human activity, under the hegemony of consumerist society, by actively confronting the status quo. This commingling of different kinds of strata, such as mineral, vegetable and organic waste, creates a new territory, a landscape, a fragmented map that hints at who and what we are; the erosion of marks, our expression over time and the disappearance of familiar signs and their re-appropriation into a form of cultural memory. Here’s what he has to say about his work:
I work on the nature of marks and the expression of their signs through time, in the immediacy of their captured image. These traces, left voluntarily or not, often in a process of abandonment, all have some form of independent living. When I free them they behave as entities torn from their support, are kinds of organisms in figure-being, waiting for a new territory : decomposition / recomposition. They become possible beings.
By taking pictures with my camera, I products alterations, I begin to distort their meaning, they become possible icons, images-material entities become, uncertainties in fragments. These images, when they appear to have reached a questioning power, become sensitive fragments, become the imprinting themselves simultaneously. They are pure interfaces.