Inez and Vinoodh / SEE YOU IN EVERYTHING
The photographers Inez van Lamsweerde and Vinoodh Matadin have been inseparable from the fashion and art scene since the 1990s. Very early on they made use of digital processing and distortion. Sometimes a delicate retouch was enough, and sometimes they took it to the apex of gross contortion. Through their strongly expressive manipulations, the couple developed a pictorial vocabulary of their own, and they continued to develop it in their themes. Their work is extravagant and gaudy. At the same time, however, they deal with cryptic questions about superficiality, gender, and identity. This book of photos presents a kind of retrospective “director’s cut,” as it were.
The photographers Inez van Lamsweerde and Vinoodh Matadin have been inseparable from the fashion and art scene since the 1990s. Very early on they made use of digital processing and distortion. Sometimes a delicate retouch was enough, and sometimes they took it to the apex of gross contortion. Through their strongly expressive manipulations, the couple developed a pictorial vocabulary of their own, and they continued to develop it in their themes. Their work is extravagant and gaudy. At the same time, however, they deal with cryptic questions about superficiality, gender, and identity. This book of photos presents a kind of retrospective “director’s cut,” as it were.
Description
The photographers Inez van Lamsweerde and Vinoodh Matadin have been inseparable from the fashion and art scene since the 1990s. Very early on they made use of digital processing and distortion. Sometimes a delicate retouch was enough, and sometimes they took it to the apex of gross contortion. Through their strongly expressive manipulations, the couple developed a pictorial vocabulary of their own, and they continued to develop it in their themes. Their work is extravagant and gaudy. At the same time, however, they deal with cryptic questions about superficiality, gender, and identity. This book of photos presents a kind of retrospective “director’s cut,” as it were.
