Let’s talk about ordinary: what is ordinary to us?
The most likely answer would be: everything. Everything is ordinary, since we steadily are bombarded by informations shots, coming from TV, newscasts, blogs and social networks. There’s nothing extraordinary in a teenager starting a shooting in the middle of a school, nor in a procession of veiled women: nothing is worth taking a picture for because everyone is nowadays able to do it properly, as we all are endowed with the most modern devices.
Considering this reality, how can possibly art – the most extraordinary human tendency – relate to ordinary? It’s quite a big deal, there can not possibly be a single answer to this question. In this sense Bjørn Borge-Lunde quest is quite intriguing, since he sets an interesting reflection about the many ways art, and more specifically photography, can relate to our everyday topics.
Borge-Lunde, Norwegian talented photographer, shows quite an unusual way to face ordinary isolating it, locating it into an otherworldly atmosphere that suddenly changes it: somehow, ordinary becomes not so obvious, not so foregone.
Wheter the subject is an animal, a landscape, a famous diva or a child, his outstanding technique has a catalysing effect. It drives the look to the subject and it forces the eye to deepen its carefully detailed features. The lack of scenography, reduced to a misty atmosphere, exalts the main character as an actor in the middle of a darkened stage and it gives to the whole composition some kind of metaphysical twist: in the end, Borge-Lunde images are dreamlike illusions, purified by the contest and exalted by their own uniqueness.
Artworks as intense as The Path Of Submission or Do No Evil strike with the immediacy of their not-so-ordinary messages: they drive our floating attention to the story, in order to wake up our sleeping feelings through the use of pictures and words.
Words are as important as shapes in order to properly send the message: the bond between images and titles creates the story, the meeting of the two completes the communication scheme. After the Modernit rejection of the title as communication tool, above the overload of language promoted by the 60’s art movements: with Borge-Lunde we are brought back to the original meaning of the relationship between images and words, based on a mutual collaboration aimed to send a message,
Worn-out – and yet fascinating – subjects, stories to tell, the uniqueness within the ordinary: we just defined the main features of Bjørn Borge-Lunde style. His perspective of art and his almost metaphysical quest of little extraordinary things are good starting point to send a simple, strong message: we have to learn, once again, to find the extraordinary where no one else would look for it, in the uniqueness of an image.






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