Alastair Pincaud
  • Introduction

  • Bio

The anonymity of city life allows us to wander freely, unnoticed by our neighbours, and observe everyday interactions. Yet this anonymity also fuels our fantasies and inspires the voyeur inside us. What is happening right now in the building across the way, in all those rooms stacked side by side like small parcels? While the rooms are architecturally identical, their inhabitants bring them to life, shaping the individual worlds inside them.

Canadian photographer Alastair Pincaud is complicit in our curiosity and lets us look, quite literally, behind the façade of a New York hotel. With a passion for detail and amusing references, he creates short stories, fictional snapshots charged with tension. The paintings in the rooms, for example, are stolen artworks sought by the FBI. From a model in a photo shoot to lovers anticipating a rendezvous to a thief about to be caught, the scenes have a cinematic drama that feeds our craving for scandal. We almost want to reach into this photographic dollhouse and play out the different scenarios.

Miniatures and models have fascinated Alastair Pincaud since he was a young child. Backdrops and stages have been a continual focus throughout his career, an influence that is clearly visible in the look of “Spy City”. Space and perspective are central themes in his works. The circular, raised acrylic sections in “The Grand Hotel” give the piece a sculptural feel and add a three-dimensional effect to the photograph. The viewer’s gaze zooms into the picture as if through a magnifying glass, allowing us to secretly watch these events like spies. Another, equally important theme in Pincaud’s work is that of the individuals in the rooms and their roles in the public and private spheres.
Born in Winnipeg, Canada
Studied Photography at ArtCenter College of Design, Pasadena, USA
Lives and works in Toronto, Canada and in Amsterdam, Netherlands

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