Christoffer Joergensen was born 1978 in Denmark and grew up in Luzern. He completed his Master in Photography at the Royal College of Art in London and has since had a number of solo shows and group exhibitions in galleries and public institutions around Europe. He actually is living and working in Zürich.
The talented young artist is surprising with his fresh and innovative photographic works that leads us to new thrilling terrains.
Faced with the image tsunami and the general acceleration of communication, Christoffer Joergensen has opted for slower, more long-term photographic projects, creating works that speak to us about our chaotic times and about a need to find meaning and some structure within them. All of his projects create intriguing fields of tension, for instance between rigid Cartesian grids and a blurry complexity, abstract patterns and photographic subject matter, far and close or between the individual and the mass. He treats photography much like a calligrapher treats text, his ornamentation acting to slow down the process of writing as well as reading. Joergensen’s latest works are contemplative but also extremely vivid, timeless but also timely.
In the Public Spheres series, Joergensen digitally mirrors triangular fragments of photographs of plenary halls to form hexagonal patterns reminiscent of honeycombs or kaleidoscopes. Dotted around these hexagonal cells are politicians listening to speeches, writing or reading the papers. The elements of the sphere, the pattern and the image combine to conjure a symbolically loaded atmosphere in each work. Here Joergensen deals with notions of identity, public unity, fragmentation and individual alienation.
For each work in the Grogram series, Joergensen cuts two photographs into thin strips and then weaves them together to form a new image. Details of photographs of unrelated people and circumstances are united in this way. Once interwoven, the two images influence and to an extent veil each other. The people in them loose their individuality. Their individual traits have been eliminated in the process and what is left is an altogether more ambiguous, more ominous substance.
In Seasons, Joergensen’s latest series, the intention is to produce four works every year. Each piece is comprised of two photographs, one containing a vertical motion blur and the other a horizontal motion blur. These are then combined using a number of different computer programs. Displacement maps are employed to create contrast and texture. Seasons is the result of the experimentation he engages in while continuing to expand on his more long-term projects.