Nominated by Jerry Vezzuso
Featuring May Lin Le Goff
‘Terrestrial Interjections’ is work in progress examining how human beings project themselves along their own personal journeys. In our contemporary culture, people tend to portray themselves in a one-dimensional exhibitionistic manner; an alternate reality is created through a series of filters put in place by the subject. As the viewer, we live vicariously through these vignettes. We see ourselves as a highly evolved sentient entities, yet there is a prevailing herd mentality that is highlighted through our behavior, especially easily observed through social media avenues.
In this body of work, the interjections come in the form of staged unnatural occurrences. By using the familiar language of commercial and stock photography, no detail is obscured and everything is laid out for the viewer to scrutinize. However these seemingly optimistic images reach for an unseen sublime, and are to be viewed literarily like short stories. Each image contributes to a non-linear ironic narrative that points to the mundane day-to-day- the photographs aren’t necessarily about the subjects or objects themselves, they are more of a reflection about the world in which they exist in. The viewer is invited to piece together these scenes of imagined cause and effect into a single narrative.
May Lin Le Goff is a photographer based in New York City. Born in France and raised in Singapore, Le Goff creates surreal renderings of high fashion overlaid with her own personal brand of disorder and irreverence. In 2010, Le Goff moved to New York to complete her BFA in Fine Art at the School of Visual Arts, and graduated with top honors as well as the prized Tierney Award, a fellowship grant given to a single graduating student of that year.
As a child of two worlds, the discovery of fashion images in Le Goff’s later teenage years played significant part in establishing her creative identity. This was an avenue of self-expression that was completely autonomous- that sense of independence remains evident in Le Goff’s work.