Three artists, three techniques, three expressions of resistance art photography in a world saturated by images.
This is the number of photography that was taken around the world in 2012.
A record. More than ever, the photographed image has become ubiquitous. In a few seconds a picture went around the world, is tagged, like, tweeted and rewetted. This flood of photographs not only transformed our relationship to the image, it has revolutionized the very status of professional photographer, first and foremost, that of the artist photographer. In this continuous stream of pictures it is facing new questions: how to find its identity? How to tell? What makes a photo is a photo art?
It is around this issue that La Maison d’Art in New York brought together four photographers. Each using a different technique, these artists break with the idea of hotography as a record of reality and give to see works that are works of art before photographs.
Cedric R. Destailleur
If the street has always been a matter of choice in the history of photography, whether as a backdrop, as an object of staging or as documentary theme in the work of CRD it becomes the subject in its essence.
Using the effect of the extended diaphragm opening, Cedric creates image that keeps the footprint of neon-lit storefronts, the headlights of cars, sum of all urban lights. Reworked, manipulated, it is not only the city or town that appear, but the feeling, the energy that emerge, the emotions that arise. The approach Cedric R. Destailleur falls particularly in the movement of Light Painting, Urban current photographic work on the decomposition of light.
Jean, meanwhile, develops photography with encaustic. In seeking out the scope of the pure picture he was led to discover this technique dating back to the 4th century BC. Following Jeri Eisenberg, the artist applies to his photographs of hot wax mixed with pigments. The mixture gives the work a unique appearance, between photography and painting.
A work that gives us , as Jean Lebreton, a break from the reality of daily snapshot.
Pnina works from Polaroids. Just as the film was exposed, so that it heats the emulsion remains malleable, the artist manipulates the reworks, notches, plays with colors. The final work has kept track of the object or landscape photographed, but it is modified, enhanced by the action of Pnina. She wondered, too, about the temporality of photography. Playing with the immediacy of the Polaroid, Pnina creates works where time seems suspended instead.