Legendary curator Chrissie Iles' sixteen page meditation on the totality of Slater Bradley's Doppelganger project from the catalogue Slater Bradley and Ed Lachman: Look Up and Stay in Touch.
In the early 1920's, towards the end of his life, Claude Monet stood on the Japanese bridge over the ornamental water lily pond in his garden at Giverny and took a photograph of his shadow. His head, wearing a hat, can be seen reflected in the surface of the water, barely visible at the periphery of the black-and-white photograph's bottom edge. The ghostly presence of the artist in Monet's enigmatic self-portrait anticipates Slater Bradley's doppelganger project eighty years later, in which the double operates as a mechanism through which to interrogate the transience and permeability of identity.