From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
From Doubles, 2000 - 2020 © Rachael Woodson
Doubles
Rachael Woodson opens her collection of family photographs to the public. She presents portraits of her brothers, whom she has photographed over many years. Her series blurs the boundaries between autobiography and the relationship between private life and public image. The childhood home serves as both a backdrop and a pretext for staging; the artist evokes her memories, free of nostalgia, and engages with the idea of childhood through the lens: growing up and seeing oneself grow in the eyes of others. And she does so unflinchingly.
Henri Guette for The Steidz, 2018. Original text in French:
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Rachael Woodson ouvre au public ses albums de famille. Elle expose les photos de ses frères qu’elle a pris pour modèle durant plusieurs années. Sa série relève ainsi de l’autobiographie, du rapport entre vie privée et image publique. La maison d’enfance sert de décor et de prétexte à la mise en scène ; l’artiste évoque ses souvenirs sans nostalgie et nous entretient d’un rapport à l’enfance par l’image : grandir et se voir grandir dans le regard des autres. Sans naïveté aucune.
Installation view, Festival Circulation(s), Le Centquatre, Paris, France, 2018
Installation view, Festival Circulation(s), Le Centquatre, Paris, France, 2018
Installation view, Festival Circulation(s), Le Centquatre, Paris, France, 2018
Installation view, In Between, Tsukuba Museum of Art, Ibaraki, Japan, 2017
Installation view, In Between, Tsukuba Museum of Art, Ibaraki, Japan, 2017
Installation view, Les bruits de pas sur le plancher, IMMIX Galerie, Paris, France, 2020
Installation view, 15b9, Île Saint-Louis, Paris, France
WALL, large format photograph, dimensions variable, 2016