Douglas Gordon

Never, Never (black negative mirrored) ,Scotland ,2000

Digital print on C-type paper (Edition of 13),
61x76 cm

Courtesy of Lupe Sanchez and Ben Woolley, London

Klaus Biesenbach, curator of the cinema and media department at the New York Museum of Modern Art, describes the work of Scottish artist Douglas Gordon as arousing mixed feelings of awareness and forgetfulness under the influence of contemporary media.

By means of imposing renewed encounters with the familiar and confrontation with whatever has been deliberately forgotten, Gordon exposes the disparity between our vague and perverted memories, and possible truth. Proving convincingly that what he paints is not merely the medium, rather, it is time itself.

Gordon tends to break up, divide and duplicate images or transform them into their opposites. But at the same time, doubt has become his permanent companion on his way to artistic success. He frequently plays a dual game: by undermining the trustworthiness of images generated in modern communications media, he destabilizes the observer’s power of understanding. In his installations, Gordon deploys optical tricks upon the observer; a section of existing film – having undergone unexpected editing – reappears in entirely new contexts, and the soundtrack is employed in a manner to arouse expectations that the images do not fulfill, or evoke new associations. Gordon exploits his art to investigate motifs such as seduction and fear, life and death, guilt and innocence. He attracts his viewers by showing them that their own lives are equally chaotic and contradictory