As Elinor Carucci’s photographic diary continues to evolve, she takes us into the details of her surroundings, her family life and her home. By narrowing the way she looks at things, the more she is able to see. Carucci takes the viewer into a very private part of her world. Marks on a body from bed sheets after waking, the imprint of a zipper on skin looks familiar and beautiful, a few dark hairs on an upper lip reveal a flaw in an otherwise perfect and sensual mouth. Carucci photographs the stitches on a finger, and it becomes eerie and striking, mimicking the pattern of eyelashes from a very separate and quiet photo. All are the results of reality, living and seeing, capturing accidents with artful intention.
Since her gallery debut in 1997, Carucci’s reputation has grown internationally with solo exhibitions in London, Frankfurt, Prague, and Jerusalem. Her work has been extensively published and collected by numerous institutions and private collectors.
Born in Jerusalem, Israel in 1971
Lives and works in New York, US
At first, Carucci photographed her mother, father and brother, and then later the extended family. At a certain stage, she began shooting her mother and herself as a series of pictures, serving as work subjects.
The second stage of her work was shooting in colour. No advance warning, no cooperation. To snap, to develop, to check and over again. The frame became flexible and hospitable. What she had previously considered improvisation, marginal, came close to the centre and became the theme itself.
But how much can one interfere in the pictured situation? Does altering the lighting create a different situation? Does a bit of cleaning up or changing clothes before photographing keep one faithful to the reality of what one is trying to document? Maybe some of the photos are what you would like things to be and not how they really are?
The preferred situation: Don’t think, just shoot, just shoot.