Issue No. 112
Despite his work’s obvious indebtedness to Surrealism, Swedish photographer Tommy Ingberg doesn’t identify with all aspects of the artistic/political/philosophic movement begun in the early 1920s. If people want to categorize him as a Surrealist, fine, but he hopes they can look beyond that label and see the work on its own terms. For if Ingberg does channel some of the tropes of artists like René Magritte (particularly the Belgian painter’s anonymous bowler-hatted men), he puts a new twist on them via a modernist humor and sensibility, and relies on a seemingly inexhaustible imagination to invent bizarre new visual motifs and confounding juxtapositions.
“The machine does not isolate man from the great problems of nature but plunges him more deeply into them.” —Antoine de Saint-Exupéry
“I grew up with a certain sense of humor, and I kind of lay it on New York, where I was born and raised.”