What is the title of your doctoral thesis?
Its working title is The Camera as Extended Organ, which is a reference to the main focus of my thesis: an in-depth exploration of Klasson’s artistic method and the material results it has produced.
What made you choose to write about Eva Klasson?
I’ve long been interested in art theories that address topics such as corporeality, performativity, and materiality. When I first encountered Klasson’s idiom, I realised that her works have an enormous power to comment and build on these theories. My first experience of her works was an intense one. Now, I’m applying this experience, and art-theoretical perspectives, in my research, by following the many paths the images lead us along, pointing out similarities and differences between Klasson’s oeuvre and those of her contemporaries, and analysing her artistic method in depth.
Why do you think her pictures impacted the Paris scene , a sensation. It’s interesting to read the December 1976 review in Le Figaro, where her photographs are called genuine innovations of the genre, and where the critic berates the galleries for their failure to admit photography into the art world sooner. The reviewer, it turned out, was also a big name in contemporary art!
Le troisième angle was impeccable. Photography as an artistic genre in its own right was still a fairly novel idea, but many female artists had started to experiment with new mediums in art, including video and photography. Klasson, who spent many years as an assistant, copyist, and photographer, mastering the craft of photography, existed in between these worlds. I think the sensation was in part due to the fact that she came from the world of photography, but that what she presented defied all attempts at categorisation.