The Fondazione Sozzani presents for the first time in Italy the exhibition “Silver Lake Drive”, in which Alex Prager unites ten years of her photographic and film works.
The exhibition is curated by Nathalie Herschdorfer, director of the Musée des beaux-arts Le Locle, Switzerland.
Prager’s work is cinematic, drawing inspiration from her surroundings, personal experiences, street photography, pop culture and film. She utilizes a range of style elements reminiscent of early film genres such as film noir, thriller, melodrama and crime fiction. Women have frequently been the protagonist in Prager’s work, driven by emotion. Through the use of saturated colours and familiar imagery, Prager is able to create her own unique world where she explores darker topics in a seductive and unsettling way.
Prager’s work is rooted in the photographic tradition of William Eggleston, Diane Arbus and Cindy Sherman, each of whom mastered the art of freezing the indeterminable everyday moment. Prager’s oeuvre consists of heavily staged, large format images using rich colours. Her photographs can be seen as ‘single frame narratives’ that capture enigmatic stories within the edges of the frame. Both her photographs and films are characterised by the absence of a linear narrative.
The Fondazione Sozzani presents for the first time in Italy the exhibition “Silver Lake Drive”, in which Alex Prager unites ten years of her photographic and film works.
The exhibition is curated by Nathalie Herschdorfer, director of the Musée des beaux-arts Le Locle, Switzerland.
Prager’s work is cinematic, drawing inspiration from her surroundings, personal experiences, street photography, pop culture and film. She utilizes a range of style elements reminiscent of early film genres such as film noir, thriller, melodrama and crime fiction. Women have frequently been the protagonist in Prager’s work, driven by emotion. Through the use of saturated colours and familiar imagery, Prager is able to create her own unique world where she explores darker topics in a seductive and unsettling way.
Prager’s work is rooted in the photographic tradition of William Eggleston, Diane Arbus and Cindy Sherman, each of whom mastered the art of freezing the indeterminable everyday moment. Prager’s oeuvre consists of heavily staged, large format images using rich colours. Her photographs can be seen as ‘single frame narratives’ that capture enigmatic stories within the edges of the frame. Both her photographs and films are characterised by the absence of a linear narrative.