Guy Pitchon dives into youth culture through photos, prints, composed collages, drawings, sculpters and etching in wood and glass.
I began taking photos in order to commemorate events, moments that captured my eye. From there on it was a natural progression that has kept me in the skateboard world which I grew out of and am still growing in, for 20 years now. Through the camera, I turn my eye to the existential experience of the subject, who mostly belong to my circle of friends or relate to issues that are close to my heart.
Photography, among other things, is the tool which allows me to share my passion for skateboarding with the world - it becomes a mediator between the glamour of those famous action shots and the suffering and sacrifice which this world demands. The camera allows me to immortalize those moments in life that disappear under the burden of reality - those moments that can sometimes be taken for granted, the moments that, unless we cherish them, will be lost in the chaos of daily life.
The tools I use - old skateboards, drawers, windows, bottles, allow me to preserve the simplicity of life, the moments where progress has no meaning.
In my work as a commercial sports photographer, I shoot skaters flying through the air, with the clear agenda of glorifying and aggrandizing their sportsmanship, in particular skaters, and make them into some kind of Robin Hoods who conquer the streets. In my art, I continue to shoot them when they crash, in their least glamorous moments, and commemorate my personal encounter with them and with the challenges and choice they make to dedicate their bodies to this end.
I create metaphors and use cliches like "Young Batman", "The Big Brother Pyramid", "Toy Gun", while attempting to deconstruct them.
The architecture and atmosphere surrounding the portraits will always be present in my photos; the connection between the subject and its environment is crucial to me.
As someone who has moved for several years between commercial and art photography, between art and pop, between primitive glass etching and digital photography, between the street and institutions, between adults and teens - when I take photos I strive to expose the truth the subject would have liked to be seen in them, on eye level, like a tattoo that to me is a symbiosis between an artist and the body or idea of someone else. Thus I aim to create a connection between us and create something new. When I do a portrait, I like to believe that I create something new, and that I expose in a reliable way the sense that the subject would like to carry over. I avoid creating a manipulation that will tell a nonexistent story. I walk the fine line between the legal and illegal, between trespassing and the freedoms of public space, between vandalism and using the space in a creative and even productive way.
In my plastic art, my creation tools are blood, sweat and tears. The sisyphean nature of using my hands more than machines, whether it is manual sculpting or manual printing of wood or glass reliefs, enlivens me. I lost faith in the existing order, in politics, and in issues close to me, important to me - I try instead to bring about the change on my own.
2007 - Photography Graduate. Minshar School of Arts, Tel Aviv