Caroline Walker – Windows – KM21, The Hague

Four years ago I visited an exhibition in London of photographs by Gregory Crewdson.  It was an interesting body of work of often lonely figures, framed by windows, glass and reflections also playing a part.  Before visiting the Caroline Walker exhibition in KM21 I wondered whether I might find some parallels.

Gregory Crewdson at the Photographers’ Gallery, London

Superficially there were some connections the framing devices and a certain voyeuristic peep into the domestic life of others.  There were links too to Edward Hopper.  But the bleak desolation of Crewdson and the melancholic loneliness present in so much of Hopper’s work were significantly absent in my experience of Walkers large and beautifully painted canvases.

Even when the themes of the paintings were the maids and cafe waitresses these images seemed to be presenting and observing simple moments in time.  It doesn’t feel like the artist is passing judgement.  It is more an observation of time and space.  We the viewer are left to contemplate and reflect on the situation.  They are paintings of our time, with the face masks being worn by the ladies in the bread shop.

In some of the compositions there was more than a little Vermeer to be found. Quiet domesticity, but above all-in a carefully constructed composition that had numerous grids, dividing lines and boundaries worked into the structure of the paintings, bringing more abstract qualities to the layout.  Bars of colour along an edge seemed to often provide an illusionistic bridge between the pictorial spaces of William’s interiors and the interiors that we occupy when viewing the work.  At one moment I found myself struck by the connection of the artists mother viewed through the kitchen window and the museum guard standing just a few feet away staring out of the gallery window.

These are paintings with simply a great deal to see and a great deal to enjoy.  I loved the fluency and liquid qualities of the brushwork, but above all I loved the contrast that the careful division and sub-division of the painting into areas and zones.  Windows, doorframes, edges of walls and windowsills are all put to work to bring a geometric order to the domesticity that has been depicted.

Gregory Crewdson: Cathedral of the Pines

The silence is almost deafening. Crewdson’s frozen moments in time are peopled views of small town America on the fringes of the mysteries and secrets of the forest. They are immaculately constructed compositions with a huge amount of attention given to detail both in terms of their technical achievement but more significantly the way in which each of these large-scale photographs are packed with elements that seem to be so consciously placed. Where and who do those footprints in the snow lead to? Why are there so many apples in the grass when there is not a single apple on the tree and what, if anything, has just been said?

In this collection of work at The Photographer’s Gallery in London the human relationship with nature seems often to be present, but is not wild and beautiful nature, it is nature that seems always to disclose a human resonance, a production forest, remnants of a previous human industrial intervention or simply the detritus of daily life left discarded.

The photographs draw a variety of parallels from the simple domesticity of a woman at a sink in front of a window, that has more than a little Vermeer about it, to the visual connections with Edward Hopper’s often equally silent interiors. But it’s more than compositional parallels, the rather dark sense of mystery that hangs around these carefully positioned individuals brings more than just a little connection with my memories of watching David Lynch’s Twin Peaks all those years ago.

But for me, viewing them from a perspective that includes twentieth century Dutch art history I am reminded also of the work of Carel Wellink, with their seemingly film set like sense of reality, a disquieting sharp focus where you struggle to feel comfortable with the view that you have stumbled on.

Crewdson’s work is, for me at least, a fascinating discovery and offer some food for thought for future education based projects.