The Money Shot


Simon Gardiner’s architectural photography presents the city–usually Paris or New York–as a complete, totalizing environment, unroofed by the expanse of the sky, but rather, turned on itself and rotated at angles. The results vary from vortographs, kaleidoscopic compositions wherein the subjects are reflected and arranged in triangular or multilayered arrangements, to simple, yet highly disorienting fabricated symmetries. More after the break.

Through simple manipulations, Gardiner creates new cities of infinite expansion, where space has been ostensibly dominated. They resemble the vertigo-inducing urban spaces in the movie Inception, where the laws of physics are absorbed and manipulated by the whimsies of the human dream psyche. Yet whereas the film’s transformation of Paris, for example, was all spectacle, while acting more or less as a plot device, Gardiner’s images are not afforded the luxury of motion, and thus, become somewhat more believable. They are snapshots of everyday life, in a new schizophrenic world of complete freedom and under total control, where utilitarian functions are rendered irrelevant (plumbing in the sky?) and individual freedoms are gradually eclipsed by the vanishing point.

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