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Claude-Maurice Gagnon



In this photographic suite – influenced by the hybrid work of Barbara Kruger – each unit is made up of one or two characters that I play. To these are added, on the surface of the images, verbal statements – which in another way inform the viewer about the philosophical, conceptual and symbolic dimensions of some of my convictions towards this world which seems to me to be crossed by the ‘obscurity, that is to say by what is played out socially in the shadow of the margin where human misery reigns.

Consequently, my approach to the self-portrait is renewed. It goes beyond the intention of self-representation because I submit my image to the service of the social themes that concern me. From there, I want to highlight the influence of the photography of the staging and the different personifications of Cindy Sherman on my work. In this sense, my presence in the photos seems closer to the actor’s game because while remaining who I am, my presence is completely oriented towards the thematic sociological representation that I want expressed.

Either chaos or confusion; the pandemic associated with the coronavirus, the symbol of the mask; the collective depersonalization of individuals; the significant increase in poverty, homelessness, violence and mental health problems; the male chauvinism of toxic masculinity towards LGBT + people, and the reduction in social relations which has a distressing impact on sexuality. among others.

My photographic statement on current reality is therefore fragmentary and more humanist than political, even if these two visions necessarily meet. I am saddened by all of these upheavals that I am addressing. However, I do not share the idea that after darkness comes light. However, what I am convinced is that photography allows me not to sink and to keep my head out of the water.

Claude-Maurice Gagnon



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