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GHOSTSJorge Molder’s icy series Inox does not derive its name from any allusion to metal or to reflection (although this inference might be possible), but to a contraction of Innocent X, the Pope that Velázquez portrayed as fantastically fearsome, in a painting that was interpreted by Francis Bacon with even greater violence, if such were possible. Molder also has a fascination for Bacon, as well as for the expression that the Pope supposedly whispered when he saw his portrait painted by Velázquez: “Troppo vero”. Indeed, this expression is also used as a title for another series of photographs by Jorge Molder, TV, in a game of meanings within other meanings, in a mise en abîme which is his usual methodology. Molder’s creative method, which involves almost permanent use of himself as a model for his pictures, lies in the construction of narratives with diffuse outlines, laden with references, allusions, quotations from other photographers (like Paul Outerbridge or Bill Brandt). In the network of relationships he invokes there is a gallery of authors with whom Molder defines a complex, sometimes almost gothic world: Dostoyevsky, E. T. A. Hoffman, Poe, Kafka, Melville, Perec, Gombrowicz, Fritz Lang’s cinema and a recurrence of the figure of the double, the doppelgänger, constructing an enormous puzzle in which one cannot make out a meaning, but rather a pulverisation of paths that are endlessly woven. So this using of himself does not mean that his images belong to the field of the self-portrait, because in no case (or hardly any) is there an attempt to depict himself, only the use of his body to construct characters or to show metamorphoses and processes of transformation. Molder’s characters are ghosts that haunt the world of images, often echoes of other ghosts that peopled other worlds (of the texts or the moving images) and which have survived so that we, being lost in these others that haunt us, may be a little more questioning, slightly more terrifyingly, about our homes on this side of his images.Delfim Sardo

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Biografija umetnika

The Spectral Lens of Jorge Molder

Born in the vibrant cultural landscape of Lisbon, Portugal, in 1947, Jorge Molder has spent decades crafting a visual language that exists at the intersection of photography and metaphysics. His artistic journey, which took flight in the late 1970s, began with a profound immersion into the stark, evocative world of black-and-white photography. Rather than seeking to document the external world, Molder turned his lens inward, utilizing meticulous close-ups of hands and faces to probe the deepest recesses of human identity. His work does not merely capture a subject; it interrogates the very essence of memory, the fragility of the self, and the relentless, silent passage of time.

Molder’s creative universe is a dense tapestry woven from threads of philosophical contemplation and literary shadows. He draws immense inspiration from the psychological depths of authors such as Dostoyevsky, E. T. A. Hoffman, Poe, Kafka, Melville, and Perec, alongside the cinematic noir atmospheres of Fritz Lang. This intellectual lineage informs a style that transcends mere representation, aiming instead for a haunting resonance. His imagery often employs techniques reminiscent of film noir—echoing the stylistic suspense of Dashiell Hammett—to imbue his photographs with an atmospheric tension that feels both intimate and otherworldly.

The Architecture of the Double

At the heart of Molder’s methodology is a fascination with the concept of the "other" and the figure of the doppelgänger. He frequently employs himself as a model, yet his work avoids the traditional boundaries of self-portraiture. Instead, he uses his own body as a vessel for metamorphosis, constructing characters that act as ghosts haunting the realm of images. This process allows him to explore the "spectral existence"—a state where the subject has liberated itself from physicality to become an echo or a trace. His work often functions through a mise en abîme, a game of meanings within meanings, where every shadow and light play suggests a deeper, hidden narrative.

One of his most compelling explorations can be found in his series titled Inox. The name itself serves as a complex contraction, alluding to the fearsome presence of Innocent X as portrayed by Velázquez—a painting that famously inspired the visceral reinterpretations of Francis Bacon. Through such references, Molder connects his photographic practice to the grand traditions of art history, creating a dialogue between the modern lens and classical tension. His work is characterized by:

The use of self-representation as a tool for transformation rather than mere depiction.
A focus on symbolic fragments, such as hands and eyes, to represent the complexity of the psyche.
The creation of narratives with diffuse outlines, leaving the viewer to navigate a labyrinth of meaning.
An exploration of the "double", blurring the lines between the real and the spectral.

International Recognition and Legacy

Molder’s ascent to the forefront of contemporary art was marked by significant milestones on the global stage. His participation in the 1994 São Paulo Biennial served as a pivotal moment, introducing his profound psychological inquiries to an international audience. This momentum continued with his presence at the prestigious Venice Biennale in 1999, solidifying his reputation as a master of conceptual photography. His ability to bridge the gap between the tangible photograph and the intangible thought has earned him numerous accolades, including the AICA Award from the International Association of Art Critics in 2007 and the Grand Prize EDP/Arte in 2010.

Today, Jorge Molder remains a vital figure in the contemporary art discourse. His contribution lies not just in the beauty of his silver gelatin prints, but in his ability to use the medium of photography to question the very nature of what it means to exist. By capturing images without physically altering their subjects, he mirrors the essence of memory itself: an act of preservation that nonetheless leaves us wandering through a landscape of beautiful, haunting uncertainty.

Jorge Molder

1947 - , Portugal

Osnovne informacije

Artistic Movement Or Style: Photography Art
Artists Or Movements Influenced By This Artist: ['Conceptual Photography']
Artists Who Influenced This Artist:
- Bill Brandt
- Paul Outerbridge
Date Of Birth: 1947
Full Name: Jorge Molder
Nationality: Portuguese
Notable Artworks:
- Untitled (from series Inox)
- Joseph Conrad
Place Of Birth: Lisbon, Portugal

Untitled (from series Inox)

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