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Alternatives Landscapes

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Alternative landscapes Cette série photo a germé dans ma tête durant les vacances de Noël. Je me suis imaginé installer des décorations lumineuses dans des endroits incongrus. J’ai amorcé des tests avec un filet de 100 lumières de Noël de 1x1m. Rapidement, j’ai commencé à photographier cette installation lumineuse en forêt, et j’ai compris que le projet s’orientait vers un questionnement du paysage. J’ai par la suite transformé mon installation en concevant un carré lumineux de 1x1m x 5cm, construit en plastique léger et muni de 300 lumières LED à l’intérieur, contrôlables au moyen d’un gradateur d’intensité. Je suspends le carré lumineux à l’aide de fil de pêche entre des arbres. Pour les photographies, le temps d’exposition varie de 30 secondes à 4 minutes. Ce qui m’a d’abord intéressé, c’est l’introduction dans les paysages d’un objet fabriqué, soit un carré lumineux, un élément humain qui entre en relation avec l’espace choisi – la nature – et le renouvelle. De là, m’apparaît naître une poésie, liée à la présence forte de cette forme régulière, sorte de canevas récurrent qui, symboliquement, se rattache à la création, fait référence à la page blanche, à l’espace à occuper. Au cœur de cette démarche, j’avais aussi en tête de porter la plus grande attention à l’espace physique, en intervenant au minimum sur celui-ci, outre que d’y installer le carré lumineux. Puisqu’aucunes retouches ultérieures ne sont apportées à ces photographies, j’ai pris soin, notamment, de ne laisser voir aucune trace de pas autour du carré, afin de maximiser l’effet de relation de présence de la lumière et du paysage nocturne. Je suis d’avis que la photographie ne représente pas le réel, mais crée du réel ; or, dans ce projet, une forme lumineuse bien concrète est intégrée au paysage, ce qui, paradoxalement, confère à la photo un aspect irréel, alors qu’aucune modification ni traitement Photoshop ne sont intervenus. Tout le projet est mené de manière empirique, concrète, et est guidé par une recherche formelle obsédante et exigeante. Ces paysages alternatifs proposent en effet une relecture de certaines possibilités du paysage, de ses formes conventionnelles, de son habituelle beauté, simplicité ou magnificence. Je n’ai en effet jamais été à l’aise avec les photos de paysages, souvent marquées par l’effort de la recherche du beau qui empêche d’en montrer une banalité qui pourrait être intéressante. À l’inverse, d’autres paysages sont que trop banals, souverainement clichés comme le superbe coucher du soleil. Ma réflexion sur le paysage s’attarde plutôt à y intégrer une composante poétique à même de susciter une émotion liée à la forme et à la présence lumineuse. Je voulais créer quelque chose qui ne soit pas véritablement un paysage, mais quelque chose de fabriqué, dans le but d’émouvoir différemment le spectateur. Avec le travail en série, j’ai expérimenté cet effet sur des lieux différents, et la perspective globale donne encore plus d’impact à la présence de cette forme qui éclaire des paysages qu’il serait impossible de voir sous un tel éclairage. This series germinated in my head during the Christmas season 2011. I pictured myself hanging out decorations in weird places. My first experiment was a string of 100 Christmas lights of one metre square. I started shooting this light installation in the nearby forest, and I realised that I would use this method to investigate the notion of landscape. I later changed the installation into a light plastic square, 1x1m per 5cm, holding 300 LED lights linked to a dimmer. I hang it using fishing lines tied to trees. The exposure times for these images vary from 30 seconds to 4 minutes. I was interested in the introduction of a man-made object in an outdoor setting, a luminous square, a human element that forms a relationship with nature and helps it to be reborn. From this I feel a kind of poetry blossoms, linked to the presence of this regular shape, like a recurrent canvas that symbolically references creation, the blank page, the empty space that needs to be inhabited. At the heart of this project was also the desire to be highly respectful of the original physical landscape, disturbing it as little as possible with the installation. As there is no post production in these images, I was careful not to leave any footprints around the square, so as to maximise the relationship between the artefact and the night space. I think that photography doesn’t represent reality, but creates it. In this project, a concrete form is integrated to the landscape and paradoxically gives to the image a surreal aspect. The whole thing is done in an empirical way, and is guided by a formal research both obsessive and demanding. These alternative landscapes offer a new reading of the potential nature of landscape, of its conventional forms and its given beauty, simplicity or magnificence. My approach towards landscape is to incorporate a poetical component that will trigger an emotional response linked to the form and the light. I wanted to create something that wasn’t really a landscape but rather something engineered, so as to move the viewer in a different way. I experimented with this method in many locations and this global perspective, the presence of a complete series of images, adds weight to this artificial form that lights up, subdues and transforms the original landscape. Exhibiting this series, I wish to change this luminous object into a design object. The images will be printed in large format and framed in a light box, which will link them to the original light square. In the middle of the room, I will build a space out of black drapes, within which I will put the square object itself. By recreating the installation, I hope to allow the viewer to be in a relationship with it themselves and to feel moved by its intrinsic form. Thank : - A special thank you to Anne-Marie Richard for his support, assistance, patience, during the early pojet and construction phase. - A Sebastien Dulude for putting my ideas and words into - Christophe Dillinger for the translation Each are available printed in 24x30 po and 44 x 60po in limited ed. of 25 and 3 INFO gbuffer@msn.com
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  •   This series germinated in my head during the Christmas season 2011. I pictured myself hanging out decorations in weird places. My first experiment was a string of 100 Christmas lights of one metre square. I started shooting this light installation in the nearby forest, and I realised that I would use this method to investigate the notion of landscape.

    I later changed the installation into a light plastic square, 1x1m per 5cm, holding 300 LED lights linked to a dimmer. I hang it using fishing lines tied to trees. The exposure times for these images vary from 30 seconds to 4 minutes.

    I was interested in the introduction of a man-made object in an outdoor setting, a luminous square, a human element that forms a relationship with nature and helps it to be reborn. From this I feel a kind of poetry blossoms, linked to the presence of this regular shape, like a recurrent canvas that symbolically references creation, the blank page, the empty space that needs to be inhabited.

    At the heart of this project was also the desire to be highly respectful of the original physical landscape, disturbing it as little as possible with the installation. As there is no post production in these images, I was careful not to leave any footprints around the square, so as to maximise the relationship between the artefact and the night space.


    I think that photography doesn’t represent reality, but creates it. In this project, a concrete form is integrated to the landscape and paradoxically gives to the image a surreal aspect. The whole thing is done in an empirical way, and is guided by a formal research both obsessive and demanding. These alternative landscapes offer a new reading of the potential nature of landscape, of its conventional forms and its given beauty, simplicity or magnificence.

    My approach towards landscape is to incorporate a poetical component that will trigger an emotional response linked to the form and the light. I wanted to create something that wasn’t really a landscape but rather something engineered, so as to move the viewer in a different way. I experimented with this method in many locations and this global perspective, the presence of a complete series of images, adds weight to this artificial form that lights up, subdues and transforms the original landscape.

    Exhibiting this series, I wish to change this luminous object into a design object. The images will be printed in large format and framed in a light box, which will link them to the original light square. In the middle of the room, I will build a space out of black drapes, within which I will put the square object itself. By recreating the installation, I hope to allow the viewer to be in a relationship with it themselves and to feel moved by its intrinsic form.



    Thank :
    - A special thank you to Anne-Marie Richard for his support, assistance, patience, during the early pojet and construction phase.

    - A Sebastien Dulude for putting my ideas and words into
    - Christophe Dillinger for the translation
  • Print available
    Contact me : gbuffer@msn.com

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