Peter Bracke’s multimedia installation seeks to break down the boundaries that separate photography, painting and visual arts in general.
His expressive vision was born at the intersection of the crossroads of these art forms.
Taking this point of view Bracke attaches great importance to the picture’s medium, since this gives texture to an otherwise one-dimensional picture.
The peep show project originated – in part – from previous work called Theatre of Magic in which imaginary theatres and playfields were photographed inside pinball machines. An artificial world of playing and being played.
The real time intimacy of Bracke's work is a refreshing act of resistance to the gravitational pull of the digital world.
His images slow down and soften the sometimes grey reality of peep shows.
Models seem frozen in their own erotic universe of red velvet and mirrors.
When creating The End of Legal Voyeurism, he did not know that the Musée d’Orsay in Paris would host a large-scale exhibition titled:
‘Splendeurs et misères. Images de la prostitution, 1850-1910’ [Splendor and misery. Images of prostitution, 1850-1910]
End Of Legal Voyeurism Exhibition
Pictures are mounted in peeping boxes on a background surrounded by mirrors. The boxes themselves are installed on tripods of various heights.
The pictures were taken with a pinhole camera with long exposures. On the walls around the installation more peep show pictures are exposed. Those are printed on round enamel plates with the dimensions of vinyl picture discs.
By Dirk Sabbe: