In A House of Clay, Gustafsson places his conceptual photographic process
and contextual in dialogue with a simple premise: to elevate the everyday and
take seriously the smallest occurrences of ordinary life. Sometimes
excessively normal, sometimes tender and intimate, sometimes dense and complex,
Gustafsson's warm slices of life are digested in the bedroom
black, where the technical processes of photography close in on themselves
and integrate into the image: cycles of photography, printing, failure,
rules of dodging, repeating and scanning. Balancing awareness and
Coincidentally, Gustafsson's moments of magical realism speak to a
permanence, of a perpetual present, where the continually unfinished image can
always be, at a later stage, modified, manipulated – and rewritten.
