Getting ready to ship the new Purple, order now if you want it first! "Today, we’re living a new sexual revolution. It’s not ideological, but purely technological: social media has enabled us to interconnect and expand our sexual constellation as much as we want and from wherever we may find ourselves. We can disperse sexual imagery — with or without nipples — all over the globe and express our sexual fantasies using tools readily available to everyone. This new game has certainly impacted fashion photography and fashion design," - @ozpurple editor's letter
When we met, I discovered the photographic work of Artus. He started photography in the late 80s or early 90s. His pictures seemed incredible to me and I was surprised that he was not known for this work. He was already photographing his daily life, his skateboard friends, his first wife Veronica who had become a model, the girls he had loved so much Laurie, Olivia and Macsi of whom he had tattooed the initials on his body, his best friend Ramdane and also a incredible series on his mother, Maryse, which I had immediately sent to the few people I knew then in the world of photography. It was a work close to Nan Goldin, one will say without self-mutilation and black eyes. But something surprised me, Artus knew nothing about photography, not in the technical sense of the term, but in the history of photography. He started getting interested in American photography, he had for example never seen the work of #StephenShore, #WilliamEggleston or #LeeFriedlander before. This photo seems to me to be the outcome of this discovery.
“I don’t have a burning desire to go out and document anything. It just happens when it happens. It’s not a conscious effort, nor is it a struggle. Wouldn’t do it if it was. The idea of the suffering artist has never appealed to me. Being here is suffering enough.” #williameggleston
Check out our interview with William Eggleston and discover The Democratic Forest - his latest exhibition at The David Zwirner Gallery (link in bio)
Untitled from The Democratic Forest, c. 1983-1986
Eggleston Artistic Trust. Courtesy David Zwirner, New York/London.