Fotograf Magazine

DC: The relationship between drawing and photography as two means of imaging, but also communication, became the basis of your work. Could you please elaborate on the essence of this relationship? At first glance this can appear to be a difficult connection.

DG: I’m fascinated by the specific way how through work with the “of”, “on” or “to” of photographic reproduction my imagination can get under the surface and project itself back into a four-dimensional space where photography was first captured (intercepted). In this process I am drawn to the various layers of secret and interconnection: first the moment when I spot someone unknown, then the act of taking pictures itself, carrying the photos back to the studio, their printing and then the time spent drawing “from” or “over” the heads and faces of those persons with the help of some sort of matrix of lines or signs. What in fact interests me is their differing spatial relationship and the temporary framework that this process opens. This gives me the possibility to come into contact with those strangers during different phases of the whole process.

/Excerpt from an interview with Dryden Goodwin by David Chandler. Taken from D. Goodwin’s monograph, Cast, published by Steidl and Photoworks in 2009./