Person kneeling on grass in a dimly lit garage, while a dark car is visible in the rainy background through the open door.

Untitled [Dream House 4]

€525

Person kneeling on grass in a dimly lit garage, while a dark car is visible in the rainy background through the open door.

Gregory Crewdson

Untitled [Dream House 4]

€525

Time-limited edition

 Edition size confirmed after the 48 hour release

Free worldwide shipping

Shipping estimated 2-9 October

Artwork
Composition #1
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Composition #6

01

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14

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48

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Gregory Crewdson brings his star-studded series Dream House to a new limited edition print.

This edition is from Dream House, a series of twelve cinematic photographs shot in an abandoned home in Vermont, originally commissioned by the New York Times in 2002. Each image stages the quiet darkness of suburban life with the precision of Hollywood production, with a cast including Julianne Moore, Philip Seymour Hoffman, Tilda Swinton, William H. Macy and Gwyneth Paltrow. 

Meticulous, still and unsettling, Crewdson’s photographs construct a distinctly American psychological space with Lynchian atmosphere, somewhere between the familiar and the uncanny.

Gregory Crewdson photographed on set
Gregory Crewdson10 collaborationsAmerican photographer Gregory Crewdson can take months, years, to find the moment he's looking for. "The pictures are about creating a world," says Crewdson in the acclaimed documentary Gregory Crewdson: Brief Encounters. "I've always had images inside my head that I feel like I want to get out in the world." Crewdson starts his projects by location scouting, driving the streets of small-town Massachusetts, often visiting the same spots again and again. At this stage he doesn’t take a camera. Instead, he wants to get a real sense of the place – uninhibited by the lens. Once a location is set, he takes photos on his phone and works with his team to write a ‘description’ for each scene. From here on he operates like a film director. Lights, actors, wardrobe, art direction, props, cars. Crewdson takes all of his pictures at twilight, when the artificial lights of suburbia and fading light of the day work together in harmony. Eventually, the moment comes. For a split second, everything is calm, still and perfect.

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