James Casebere (b. 1953) has been at the forefront of constructed photography for decades. His work, based on architectural, art historical and cinematic sources, involves building hyperreal table-sized models that respond to what is happening in the world around him – from the subprime mortgage crisis of 2008 to climate change. His ninth solo exhibition with Sean Kelly, titled Seeds of Time, is on display now in New York, celebrating three fundamental principles: biomorphic design, social responsibility and environmental sustainability. In these latest works, water is a central theme, lapping up against brightly-coloured interpretations of designs by architects like Francis Kéré and Balkrishna Doshi. The idea: to communicate the urgency of the climate crisis. Here, the artist speaks about his meticulous process of reinterpretation, through which he transforms architectural designs into striking two-dimensional images.
A: Tell us about how you got into working behind the lens – where did it all begin?
JC: I remember seeing my clay turtle on The Morning Show, on TV, in a class at the Detroit Art Institute when I was five. I realised that many more people would see that work in reproduction than in person. This notion was reinforced after reading The Museum Without Walls by Andre Malraux in college.
A: What’s the focus or message behind your latest exhibition at Sean Kelly Gallery?
JC: The models are inspired by the work of architects I admire, who are trying to respond to values I support like zero carbon, sustainability, low-cost housing. The focus is not only on designing for the future and taking action now, but also on interpreting this moment through images that reflect our emotional relationship to the challenges we face.
A: If you could only show us one piece from the show, which would it be, and why?
JC: Stairs is the largest image and faces the viewer when they enter the gallery. It’s based on drawings and photos of a real place – the Doshi low-cost housing project in India – but I pumped the colour up, taking it to an otherworldly extreme.
A: Who – or what – have been your biggest creative inspirations?
JC: My beloved friends, and family.
A: What’s been the highlight – or highlights – of your career so far?
JC: I’m old enough and lucky enough to have had many. I’m very happy with the latest show at Sean Kelly and hoping the best is yet to come.
A: Do you think you have a “signature” technique or approach? What is it?
JC: The most significant approach I’ve taken during my career is building tabletop architectural models and shooting them.
A: If you could do any other job, or be an expert in any other field, what would it be?
JC: I would not like to do anything other than be at least some kind of artist: painter, sculptor or architect.
A: Who are some of your favorite contemporary or emerging artists?
JC: I look at – and love – a lot of artists and different kinds of art, for example: David Brooks, Yamini Chakraborty Nayar, Hugo McCloud, Shahzia Sikander, Turiya Adkins and Arthur Jafa.
A: Is there anything you hope audiences take away from this show?
JC: The photographs they purchase. But, also, a sense of pleasure and comfort – maybe reprieve and reflection, slowing down. I’d like for them to come away with a curiosity and appreciation for the architects that inspired me, and their commitment to change.
A: What are you working on right now? Anything else for us to look forward to?
JC: I have an exhibition of related sculpture at the Archive Gallery, on the ‘T’ Space Reserve at 60 Round Lake Road in Rhinebeck, New York, from 20 July through 13 October.
Seeds of Time is at Sean Kelly, New York, until 2 August. skny.com
All photographs © James Casebere. Courtesy the artist and Sean Kelly, New York/Los Angeles.
