David Lynch’s exhibition of black and white photos at London’s Photographers’ Gallery is typically unsettling. Seen individually, each is a banal portrait of a post-industrial setting: a factory in Łódź, or a set of chimneys in Britain. But cumulatively, and particularly knowing Lynch’s films, they force you to start constructing a narrative in your head, to disturbing effect.
Smoke. Brick. Steel. Pylons. Peeling paint. Broken windows. Shadowy, inexplicable doorways, behind which you can’t help intuit a brooding presence. Snaking pipework – what gas or fluids do they carry? A wall of windows, some lit, some not, forming a geometric mosaic like a black-and-white Mondrian.
But the most striking picture of all, given all those that have gone before, is this one (below). We have had a succession of claustrophobic warehouse or factory interiors, all disused – abandoned after a radiation leak, perhaps; or one-time scenes of inexplicable workforce deaths; or currently used for the occasional kidnap, torture and murder. This is the only window on to the outside world in the whole exhibition, and it focuses directly on a single house.
It’s hard not to feel like a deranged stalker looking out on a prospective victim. The perspective makes Father Dougals of us all — the house seems not so much far away, as very, very small. A dolls’ house whose inhabitants are of as little consequence, and there purely for the viewer’s sport.
Or is that just me?
I saw an exhibition of Lynch’s paintings in at the Galerie Piltzer in Paris in 1997. Again, they were individually unremarkable, until you realised that, cumulatively, they created a record of a crime scene.
Or was that just me?
Humans are meaning-creating creatures, the film guru Chris Jones has said. In other words, you don’t have to spell everything out for the audience when you make a film; the viewer will work hard to supply meaning to a scene in which little is said.
It works for David Lynch’s films, just as it works for his photography and paintings. Starting tomorrow, I will serialise my 1997 interview with Lynch, conducted for Time Out on the release of one of his most obscure and unsettling films, Lost Highway. Y’all come back now, y’hear?