Vi har lånt lidt information om hende fra Michael Hoppen Contemporary:
Alex Prager was born in Los Angeles in 1979. She was raised by her grandmother in a small apartment in the suburb of Los Feliz and her curious and restless nature was evident early on. Her nomadic upbringing saw her splitting her time between Florida, California, and Switzerland without truly settling down long enough for a formal education. Prager’s interest in art began in her adolescence, but it was in her early twenties that she began to focus on photography after being inspired by the work of William Eggleston.
Eggleston yes, ham kan vi godt se i billederne, ligesom vi kan se Cindy Sherman (som nævnt i denne anmeldelse fra DLK Collection) og Hitchcock, og Lynch, som er nævnt i pressemeddelelsen hos Yancey Richardson:
Declaring that on some level “all women are actresses”, Prager unabashedly references films by directors such as David Lynch, Alfred Hitchcock and Douglas Sirk. Frequently shot from an unexpected angle and dramatically lit, the images offer the audience a voyeur’s view into the world of Prager’s characters.
I det hele taget er der ingen tvivl om, at Alex Präger benytter sit kendskab til fotografi, film, reklame og populærkultur til at skabe billeder, der tryllebinder os, samtidig med at billederne aktiverer en gysende genkendelse i vores kulturelle “erindringsbank”.
Her er endnu et citat fra Yancey Richardsons pressemeddelelse:
Through her constructed narratives and dramatic portraits, Prager explores a range of female types from vulnerable to powerful, from tragic to tender and from coolly detached to literally playing with fire. As described by L.A. Times writer Jessica Gelt, “Alex Prager’s is a vision of womanhood on the edge: On the edge of beauty, of breakdown, of lust, of listlessness.” Prager’s photographs are inspired by and set in her native city of Los Angeles, a place the artist describes as “A strange picture of perfection…with a sense of unease under the surface of all this beauty and promise.” With wigs, makeup and retro costumes meticulously planned, Prager casts and directs her friends in the role of the protagonist, most often a solitary figure absorbed in a personal drama. Cinematic and darkly playful, Prager’s photographs suggest a narrative occurring just outside the frame.
But like fashion photographer Guy Bourdin, a master of the photographic mise-en-scène, Prager constructs more than a pretty picture, often infusing her narrative with a dark sense of foreboding.
(fra “Week-End”-udstillingen på Yancey Richardson Gallery. Udstillingsbillederne hentet hos DLK Collection)