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Sinan Göregen is a photographer through and through: He found himself, turned away from people, in landscape
as a purist analogue photographer, his picture series can
be assigned to classic photographic genres such as landscape
and portrait photography, as well as nude and documentary photography. He seems to have left documentary photography behind, at least for the moment, in his early work.
The oscillation between the different genres was driven by the search for a content, a content that was supposed to fill the groundlessness of his immigrant background. His works are in conclusion massively autobiographical and reflect how he sees, feels and understand the world around himself.
The fascination with the human act produced series that, through their sculptural character, emphasized the objectivity and auraticism of analog photography, but had no fulfilling effect on the photographer. Portrait photography was not enough either.
photography. Like the pictorialistic photographs of the early days, these pictures have a picturesque effect on the viewer at first glance. From the point he turned from man to nature, he finally embraced his inner emptiness and found great strength in it. They are more pictures of the nature in general than of the landscape itself, as they are rather to be seen as metaphors, not descriptions.
Deadpan, like the photographers of the new objectivity, he now photographs portraits of trees, which in the first instance of the exhibition he confronts with a vague, out of focus self-portrait. A self-portrait that in its blurred fashion clearly reveals the inner emptiness of the artist.
Throughout this whole search and all the different kinds of series runs an atmospheric leitmotif: darkness, obscurity and morbid- ity are omnipresent through his oeuvre as a subliminal feeling
- since the pictures themselves are his manner to find his way through his very own darkness.