through picture windows

Gregory Geiger’s photographs drift between tenderness and precision, layering nostalgia and desire through a distinctly contemporary lens. Drawing from the early pictorialist traditions of Brigman, Atget, Cameron, and Stieglitz, Through Picture Windows reimagines their ethos—of the image as emotion, as suggestion, as mood—for an age saturated by screens and seduced by spectacle.

Geiger’s work is grounded in process: a labor-intensive choreography of analog materials and digital ephemera, staged entirely within the camera. Using botanical forms, torn magazine pages, translucent layers, and cut-paper figures, each composition becomes a kind of constructed memory—fragile, suggestive, and charged.

Color plays a central, deliberate role. Soft palettes—powdery pinks, moody blues, humid greens—evoke femininity and vulnerability, each hue carrying a sensual undercurrent that hums just beneath the surface: intimate but never overt, suggestive without declaration. There is a visual flirtation in these works—a glance unreturned, a gesture suspended. They hint at sexuality without naming it, allowing desire to reside in the folds of shadow and bloom.

In a media environment ruled by repetition and algorithmic taste, where our perceptions are flattened and our appetites trained, Through Picture Windows pushes back—inviting the viewer to slow down and engage in a different kind of looking. The photographs are both image and mirror, prompting viewers to construct personal narratives from the fragments of pop culture, childhood memory, and half-forgotten dreams. Recognition flickers, but never fully resolves.

Geiger’s work reclaims the visual space between feeling and form—where softness becomes strength, and where pictorialism is not a relic, but a radical, tactile response to the digitized now.