Die Krise hat das große neue Projekt von Gregg Segal gestoppt. Vorerst. Anstattdessen hat er seit Jahren das erste Feature Script geschrieben und denkt über virtuelle Realitäten nach. Über all das und noch mehr hat er mit den #FacesOfPhotography gesprochen:
Gregg, how are you in these strange times?
I’m hanging in there. Between the pandemic, staggering unemployment, and the
demonstrations and social upheaval, the past couple of months feel like the
opening montage of a dystopian movie about the unraveling of America.
If we weren’t in crisis, what would you be working on?
An ambitious project on water quality in the US that requires working with many
people and shooting around the country with a very large prop. Unfortunately,
Covid makes it impossible to pursue this project now. Hopefully, I’ll be able to get
underway next spring. I’m also developing a book project in collaboration with a
French food anthropologist which entails photographing around the world, so this
will have to wait to go forward as well.
What are you working on instead?
The upside of the pandemic is being released from the constraints of time and
having the chance to explore mediums I otherwise would have been too busy to
pursue. Lately I’ve been writing and painting. I wrote a feature script for the first
time in about 28 years (since I’d gotten my master’s in dramatic writing from
NYU). I also have a number of exhibitions in Europe and elsewhere this summer,
fall and into next year which are going ahead, so fingers crossed, we won’t be
forced into quarantine again!
Is it already clear what the crisis means for photography industry in the US
especially in California?
It’s harder to make a living certainly. Editorial photography was already
challenged prior to Covid. Now, more so than ever. The photography business is
a microcosm of the society at large, where the gulf between the haves and havenots
is widening and only a select few are able to make a handsome living.
Do you think that ways of seeing and visual languages will change against the
background of the crisis?
We may see a stronger push toward virtual imagery and a ramping up of virtual
reality as the reality we once knew becomes more precarious. We’ll likely see
many personal, introspective stories and projects, since we’re not able to freely
travel and interact with the outside world. At the same time, photography plays a
critical role as an instrument of social justice and that visual presence has been
key to the demonstrations for social justice not only here in the US but worldwide.
What is your personal photographic wish for the time after the crisis?
I’d like to be able to realize the water project mentioned above – and several
other ideas I have in the pipeline.
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