I would have called this book "Adam's Rib", but the story of how a human body part was used to create something new has already been told in another best-seller. Besides, I work with both male and female models. But my purpose is quite similar: I usually use a small part of a model's body, and try to transform it into something new, more abstract, using tight framing, wide-angle lenses, slow shutter speed, refraction/reflection from the water, or a combination of these effects. I am also quite interested in exploring the relationship between the body and its natural surrounding and I try to capture the harmonious symmetry of the human form in nature. As humans, we use our bodies as a yardsticks to understand our surrounding universe, we use it to DEFINE what is beautiful. I am convinced that if we looked like spiders or cockroaches, we would be attracted by spider- or roach-like shapes. What I am trying to do is use parts of the human body, extract them from their context and transform them to create something that "looks" like a human body, an object abstract that has become abstract but has conserved its beauty and erotic load.
Keywords: abstract, nudes, figure, landscape, black and white, photography, fine art.
Born in Fribourg, Switzerland, in 1964, Christian Waeber lived in Boston for 20 years, and recently relocated to Ireland. His photographs have been featured in View Camera, Preservation Magazine and Art-Photo-Akt, and exhibited at numerous locales in the US and in Europe. "Like Gregory Crewdson, Waeber brings an outsider’s eye to nocturnal urban locations, loading the familiar with a transcendent significance. As Waeber puts it, he wants to give his pictures the sense that they are “a beginning of a story.” Crewdson is most known for his pictures of tense protagonists who look like they’re on the cusp of a major life event. Waeber’s photographs, on the other hand, carry more oblique menace. Unlike Crewdson’s anonymous suburbias, Waeber’s images often contain recognizable landmarks in the Boston area. These differences add up to a more intensely personal interaction between the picture and viewer. " Minying Tan, Artscope (November/December 2008)
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