For several years Georges Tony Stoll took pictures of his private life and surroundings with a 35-mm camera. Friends, visitors, objects, and he himself become part of an experimental theater play, which includes elements of the absurd and the surreal. Banal scenes often take an uncanny turn, playing on the ambivalence of the photographic image as a medium of both physicality and abstraction, documentation and production, of both the intimate and the public view. The body in Croix Rouges is aggressively covered in red crosses (of which each might stand for a friend of the artist who died from AIDS), struggling to represent the taboo of the homosexual body. The latent feeling of danger, emitted by the body and transmitted to the mind via the eye, unfolds its explosive power at the threshold between the private and the political – and at the intersection of the body, the image, and the gaze.
More by Georges Tony Stoll: georges-tony-stoll.com