Following a first remarkable presence at artgenève in March 2022, the gallery will introduce for its second participation (booth D20) a dialogue between three brut photographers: Lindsay Caldicott, a radiographer who became an image surgeon following her internment for schizophrenia, Tomasz Machciński - Polish mechanic worker with multiple self-portraits, revealed at the Rencontres de la Photographie d’Arles and at the 2021 edition of Paris Photo - and our discovery, “the fetishist,” this anonymous man who deploys his scopic vision of the leg sheathed in pantyhose, whose first exhibition at the gallery was very well received by the critique in 2020.
A radiographer by profession, it was during her psychiatric internment that Lindsay Caldicott began to produce her collages of a myriad of duplicated fragments, carved with a scalpel and assembled with surgical precision. Her fractal universe is of a chromatic harmony ranging from grey to blood colors and from golden brown nuances to flesh color. Shown for the first time in 2018 by the gallery, four years after her death, the artist’s work is now part of the musée français de la photographie and several collections: the Fondation Francès, abcd/Bruno Decharme (France), and Treger-Saint Silvestre (Portugal).
This is the story of an anonymous photographic collection that surfaced from the secret depths to which it seemed doomed. Hundreds of amateur prints created over the course of a decade, between 1996 and 2006, that bear witness to the fetishistic habits of its author, manifested through pictures of legs covered with tights, taken either in the street or from a television screen. His practice evokes that of Miroslav Tichy, with the principal difference that our photographer sometimes becomes a subject himself. In both cases—as is often true with art brut—the burning questions of the construction to which our gaze proceeds and of the collective imagination’s infusion by such an individual[…]
At a very young age, Tomasz Machciński built an identity around an autograph, addressed to him by an actress he believed to be his mother. From this confusion, which lasted more than twenty years, a protean and personal mythology was born that reconstructs the artist. As the image of the Ovidian myth, or Gregor Samsa, Tomasz Machciński cannot be described. Indeed, his work consists of multiple self-portraits of as many different physiognomies. Exhibited in 2019 at the Rencontres de la Photographie, his works are already part of the Museum of Modern Art in Warsaw and the Museum of Photography in Krakow (Poland) as well as the collection abcd/Bruno Decharme.