h: In an age where images are consumed instantly and discarded, what makes a photograph endure for you?
DG: It’s the importance of emotional value and individuality. Surpassing the technicality and having a very personal point of view that’s unique and not dependent on the device itself—that’s what makes an image last, especially in current times where everything is so referential and similar.
h: Do you think photographers have a responsibility to expose structural inequities in the fashion industry, or is that asking too much from an artist working under commercial pressures?
DG: Yes and no, depending on the artist and their body of work. In the ideal case, yes, but not everyone can feel responsibility or is aware of how to address those things, especially in the commercial aspect. I think it’s most important to be respectful and use your voice and power to uplift others, making sure nothing or no one is mistreated. I think that’s the first step; the rest is a personal choice as everything else.
h: Your book, All the Love and None at the Same Time, folds in painting, writing, and photography. How ruthless were you in curating it? What was the hardest part of working on this project?
DG: The editing process was hard but pleasant; the most important aspect was time. I allowed myself to have time to edit properly, not to have the pressure and deadline: trusting the process and working intuitively. Thanks to my publishers, it was really easy to be myself and have no restrictions. It was a very collaborative process with everyone who worked on this with me, from the design team and writer to my friends and publishers.
h: Fashion images often sell fantasy; documentary insists on reality. How much responsibility do you feel toward the viewer’s trust, knowing both can deceive in different ways?
DG: I really don’t think about it. I create my work and it speaks for itself. Some people connect to it, some don’t.
h: Who is nourishing your gaze at this moment?
DG: Some recent recommendations I’ve really loved include Ai Weiwei’s article “What I Wish I Had Known About Germany Earlier,” Dea Kulumbegashvili’s film April, and Wolfgang Tillmans’ exhibition “Nothing Could Have Prepared Us, Everything Could Have Prepared Us” at the Pompidou. I’ve also been following NASA’s latest updates and discoveries, as I always find their space imagery fascinating. I visted Art Basel this summer which had great work, but in particular I loved Nika Kutateladze at Gallery ArtBeat.
I’m constantly searching for reliable political sources, journalists who remain uncompromised and speak the truth, especially in today’s climate where injustice and genocide unfold live on our phones. It’s important to read across different publications and compare perspectives.
Lately, I’ve also been listening to a mix of podcasts: Good Hang with Amy Poehler, On Purpose with Jay Shetty, TED Health, and Call Her Daddy with Alex Cooper.