Jeppesen’s large-format photographs are rooted in the tradition of German documentary with its tendency toward classification. This is an impressionistic take on the visual index — one that seeks out the spontaneous and the discarded, the undefined and the uncertain.
William Pym said, “The work of Adam Jeppesen invites thoughts about the origins and the future of the documentary photographer – perhaps “social photographer” is the word I’d rather use – the kind of artist who does not ostensibly stage the world, but prefers to watch it, then frame it as it is. The only act of manipulation, the only insertion of opinion, comes as the artist’s eye decides what will fit inside the rectangle of the aperture; the rest is already there.”
The images inhabit that liminal space between darkness and twilight. Atmosphere, heavy and thick, flows like a life force, and always manages to obscure as much as it reveals.
The specificity of the people, places, and things all fade, leaving light, color, and texture as the only framework, along with the impression that what we see is not necessarily what we are shown.
— Lars Schwander,
Director of Fotografisk Center, Copenhagen, Denmark
Adam Jeppesen was one of three photographers from Denmark chosen to represent Denmark this year at the nightlong projection of photographs from 27 European countries at the Rencontres Festival in Arles. Lars Schwander served as curator for the selections from Denmark.