kvnyns

Robert Adams

morning notes and inspirations 

volker heinze 

“We might loosely define Gossage’s ‘project’ as the distinctive characterisation of physical space, built from an acute focus on the empty and lived-in surfaces that mark the presence of social life in a man-altered landscape. But Gossage’s work is not programmatic, nor do his photographs set out to advance an explicit argument. Rather, they carefully describe a legible series of incidental interventions in the landscape, delighting in spilled fruit’s partial resemblance to Roger Fenton’s cannonballs, or revelling in the listing frame of a house that recalls the conceptualism of Splitting, whilst presaging the humour of Raise The Bar.

Gossage’s are simultaneously anonymous and deeply biographical images that frequently appear to have been made just after the guilty party has departed the scene. They are vividly specific photographs of anything, everything and nothing in particular, and their magnetism flows not from their subject matter but from the enigmatic eloquence of their framing.”