Greg Kessler is a photographer best known for his has uncanny shots of the "raw" behind the runway beauty. Kessler is a contributor to The New York Times' T Magazine, 10 Magazine, and the Dossier Journal. Kessler's work seems to push past the normal confines of a before and after leaving a visual commentary on culture and process.
DT: Greg at first glance your images appear as "Before and Afters" of models behind the scenes. But with closer inspection the focus is far from a "Beauty How To." Is there a hovering influence or Art inspiration in you work?
GK: The influence stems more from a curiosity. Who are these people we are looking at/selected to see? Here they are up close as just themselves and then suddenly they are a different creature, a creation, and we can now slide between their reality and someone else's fantasy.
DT: What is your perspective on Fashion, (voyeur,or insider)? GK: As a photographer I am a voyeur of fashion. My view is an inside view of what goes on behind the scenes during fashion week. Here there is only so much you can create as to what is simply unfolding before your eye. The key is keeping energy level up and your eye honest.
DT: The Models whom you choose seem to be curated and selected for reasons you only know, How do you choose your subjects? GK: Iusually chose the model based on skin quality, and our personal relationship. Sometimes I'll consult the key makeup artist to determine who will wear the look best.
DT: Who is a current "Creative" in fashion, film, art, music, theater...that you would like to capture in a Greg Kessler portrait? GK: Wow, tough question. I am trying to think of the ugliest person I know so I can force the viewer to look through the grotesque and admire the beauty throughout.
DT: Is there a work of Art that thrills you, past or present? GK: I am in love with Richard Serra steel sculptures from the 90's where you are completely enveloped by the piece and left at the whim of Serra and whichever direction he decides to turn you. Conversely, Gordon Metta Clark's sculpture and dismantling of building in the mid 70s and 80s are pretty mind blowing. Here he takes things we have built around us and releases us from their mundane containment. The fact that some of the finished pieces lasted only a few minutes makes them more amazing. Time is fleeting.
DT: What are some of your upcoming projects? GK: I am trying to push my work into more states of interactivity.