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Laurence Demaison

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Son travail photographique en noir et blanc reflète l'angoisse, la destruction et la question de l'identité. Il n'est pas question d'approcher le réel mais de l'interroger, et l'artiste réalise de véritables performances afin d'aboutir au cliché voulu (transformations corporelles, installations, durées de pose inhabituelles…). Un corpo di fotografie meravigliosamente stravaganti realizzate senza trucchi digitali. Immagini che sembrano piegare la luce e il tempo, distorcere l’aspetto e produrre messaggi codificati nelle riflessioni, nelle rifrazioni multiple, nelle ripetizioni visive e nei gesti che si fanno luce come macchie tra le tenebre.

Autodidacte, Marc Sommer élabore depuis de nombreuses années, sans jamais la montrer, une oeuvre d’une grande cohérence, au fil de l’absurde. Dans ce travail photographique où la réalité est inventée de toutes pièces et orchestrée avec ses proches, des objets surréalistes côtoient des personnages mis en scènes. Complètement inédit, ce travail remarquable décrit un univers paradoxal, où une grande fantaisie accompagne un humour cruel et inattendu. Apal'kin's work has a direct view on to the model. The shots were taken with a studio lighting as it can be more controlled than natural lighting. Using studio lighting is perfect to use as you can place it anywhere and make shadows to create a contrast between light and dark. However, I do believe the final shots does have a soft affect left by the studio lighting. Arms and hands can create leading lines which this photographer used to make the mirror the focus point. The mirror is on a rule of third which catches the viewers attention further. I believe that Apal'kin's work is usually taken with a large depth of field. I purvey that the photographer did not use a tripod and had taken this image with an f stop of 8. The photo was taken at a middle point, only revealing the upper half.The body, given its formidable expressive power and unending versatility, is an inexhaustible and deeply engaging subject. And when we use our own body, it is capable of responding instantaneously and with minute accuracy to the ever-changing action/reaction that modulates the flow of conception, without the losses in transmission inherent in the use of a model." - Miguel Ribeiro ( http://www.miguelribeirophoto.com/video.html ) Armed with poetry and humour, Laurence Demaison questions reality and plays with violence and passion about her life score. The only master on board is with her naked body that she defies the elements and that she questions the origins. It is obvious. Understand who can, she traces alone, leads and conducts herself in the meanders of existence. And so much for the Rain (“Pluies”). Start thinking about display strategies. I want to experiment with using these images and distorting them, by the Laurence Demaison is a French photographer and artist. In many of the photographs above she uses a combination of her drawings in her photography to manipulate it. An aim of hers is to capture what a camera can see, which can't be seen with the human eye. Therefore in many of her photographs, she exposes the photograph over a period of time, creatinga ghostly effect.During her early career, Demaison wasparticularly interested in the female portrait and nude, but found it difficult to convey her 'mental images into words and direction', soon after she gave up on models and began to use herself as the subject of her photographs. However Demaison soon found out she struggled using her physical body to photograph, so she started experimenting destroyingher bodyand recreating it, leaving the outcome of mostly, dark sinister ghostly photographs. My favourite images are the top and bottom right photos. This is because tey are the most simplistic out of the set, but still get through the textures and tones I was focusing for. Furthermore because of this, the original pictures are still unrecognisable. This experiment has made me want to layer my images in different ways, such as double exposure, or layering the images by printing images on top of each other.

I would like to explore creating more abstract images, through further experimentation, using the set of images I have just created in my final outcomes. I want to do this as I really want my project to emphasise on textures and tones and after looking at this set of images, I realise that they include these two themes repeatedly in each image. The complexity and ambiguity of Laurence Demaison’s work intrigues me. Her work is made up of self portraits, all of which her identity is stripped. She tells stories, evokes emotion, and forms an image of a being that is distorted, beautiful, repulsed, praised, and everything in between. She has the ability to make many out of one form, which is an idea I would like to continue with. A lot of the ideas that I wish to work with are personal, and yet I have not been able to find a way to make it objective. Demaison has successfully removed her personal identity from her work, while still allowing her ideas to flow through. Some of her work is beautiful, while other pieces are frightful, and evocative. I would like to experiment with creating images in a way that Demaison does, and possibly solidifying them on metal to tell a story that what has been done cannot be changed, yet all emotions and events create the being that you are today. Laurence Demaison, born in 1965 in France, is a photographer and visual artist, graduated from the Strasbourg School of Architecture in 1988. Her first approaches to photography took place in the early 1990s. Her photographic work is exclusively consisting of self-portraits from 1993 to 2009. During the summer holidays I went up to Belford with a couple of my friends. I had originally planned to capture some more long exposure images with a variety of landscape settings, however I found that the majority of images I took were of landscapes, or nature using a normal shutter speed. Once I started getting drawn to these types of images, as I liked the stillness of the image and the calm feeling that came across when I looked through a few pictures.I decided to edit my images even more, as I realised that the formal elements I wanted to show in my images could be emphasised even more with heavier editing. Using iPhoto again, I turned my brightness down more on the images and exaggerated the contrast even more. I think this helped blend the body with the location together, as well as emphasising the tones and textures in the images, which I have always liked about the effect.I followed Brandt's theme, by photographing the body and also the location of the photograph Photographe autodidacte, Marc Sommer élabore ainsi depuis plusieurs années et sans la montrer jusqu’à présent, une oeuvre où les objets inventés côtoient les mises en scènes de personnages, souvent ses proches mis à contribution. Complètement inédit, ce travail étonnant décrit un univers paradoxal, d’une grande fantaisie mais à l’humour cruel et inattendu. Originally, Demaison worked with a model, but she eventually began taking photos only of herself, partly to limit expenses. “She doesn’t feel that they’re self-portraits at all,” notes Bernard Gerson, director of Galerie BMG. “They’re not about her. She’s using the reflecting and distorting qualities of the water or the glossy paper to make phantoms, ghosts of herself. She disappears from the image.”

Her photographs really stood out to me because she doesn't digitally manipulate the images, before or after they have been shot. Apart from using chemical inversion for some series, as an exception. I really want to try experimenting using long exposures and strobe lighting to create ghostly effects, also like some of Harold Edgerton's work. I wouldalso like experimenting with portraiture and manipulating the images as well. The ghostly effects capture my eye, as there aren't opaque sections in the image, unless that object or body part was held there for a longer time. But mostly the images are quite patchy which I really like. As well as this the images feel quite gloomy from this effect and the darker tones. My favourite image of hers, is the top right. I really like this one, as the majority of the photograph, is lighter tones. But when the darker tones do appear, they really stand out. I want to try and focus a lot on tones and different ways of using lighting, to create an image that makes the viewer feel something emotionally, just through the tones. Ces dernières années, Laurence Demaison oriente ses recherches vers une démarche plasticienne, expose ses dessins et conçoit des sculptures dans un univers proche des séries photographiques qui l’ont fait connaitre. Elle s’autorise l’utilisation de mannequins comme modèles de ses photographies, ce qui lui permet de dépasser les limites de l’autoportrait et de concevoir des mises en scènes spectaculaires. Avec une maitrise totale du noir et blanc, de la prise de vue au tirage, la photographe joue avec les limites du medium comme dans ses monotypes, autoportraits directs au flash métamorphosés en épreuves uniques et lumineuses. Pour cette exposition, la photographe a sélectionné des travaux récents et des tirages de ce qu’elle appelle ses "petits parachutes", ébauches de séries ou prises de vues isolées dont elle a redécouvert les négatifs. Laurence Demaison, currently living and working in Strasbourg (France), started out as a self portrait photographer. All of her earlier work, starting in 1993 up to 2009, consists of self portraits. While browsing through the series you’d never suspect all these images show the same person, it’s like every series shows something new about her personality. To make it even more special none of these images are (digitally) manipulated aftwerwards, except for the chemical treatment of some negatives. I’m amazed by how much diversity can be found in Lauence’s portfolio. Some images are beautiful, some are sad. Some seem to tell a story, while others are straight out terrifying. In her latest work Laurence expanded the range of her models from just herself to dolls and mannequins as well, yet still succeeds in capturing haunting, conceptual portraits. Since the 1990s, the photographs of Laurence Demaison have gone beyond the genre of self-portrait to offer a deeply original vision that is at once multi-faceted and coherent. Although for many artists the representation of the self remains a sublime reflection of the author, here Demaison deforms her body and face, creating an otherness that conceals her true image. There’s a Surrealist touch to these series, which bear comic titles reminding the viewer that it’s all an invention. The representation of the body is the source of a long process of experimentation. Demaison draws on the technical possibilities of film, playing with exposure times, the focus, the contrast and the negative to create fascinating and singular images.

Xenophobia (fear of strangers)

Bill Brandt was a British photographer (born in Germany) who was most famously known for capturing British life in the 20th century. Brandt's work stood out to me, by the way he manipulates the a section of the body, to link with the location the image was taken. From these images of his below, I realise that many of his images are taken from a low angle, sometimes floor level. I'm interested that he decided to take the majority of these images outside, using natural light and a wide-angled camera. This would be quite technically difficult as most of these pictures at the beach were taken whilst it was raining and windy, however it looks as though, they were taken during sunny weather, because of the high contrasts in the images. I think I will find it harder to rely on natural light, as the weather is mostly cloudy. I would like to experiment using both natural and artificial light, to refine down my ideas and style of images. A solution to the weather problem would be to just use the flash, to really emphasise the tones, textures and shapes of the body. From the 1940's Brandt completely changed his style of photography, from capturing post-WW2 to the female body. As a result, her photographs seem to bend light and time, distort the appearance of her own human body, and hold secret coded messages in their multiple reflections, refractions, visual repetitions, and semaphore-like gestures that become smears of light in darkness. Usually once images are developed and printed, when people try photographing them, there is usually always a reflection in them from a light source which majority of people find annoying. This task was set, to manipulate the reflections, by photographing the printed images under different types of light sources. The first row of images were taken under artificial lighting in the classroom as I held the images up to the light it created a square looking shape. The second row of images were taken using natural light, however half of the image was placed behind an object, creating a shadow over half the image. For the third row of images, I was focusing more on the shadows rather than the actual light. The source light used was natural, but I places the photograph behind some railing, to create the stripped effect. I think these vertical lines created by the railing worked well with the image as it divided up the image into equal sections as the glass balls are also equally split up and equally distributed through the image. I took these images in different locations. I first took images in my garden in the evening, whilst it was raining. For these images I used the flash on my DSLR camera, because of this, it also captures the rain falling, which I think made the images more interesting, as it's not obvious that it was rain. The next location I photographed in, was in my local area, using my friends as models for the pictures. These images gave me more flexibility as I wasn't trying to photograph myself, so I could get my friends to pose in a wider variety of positions, than I could whilst photographing it. Photographing the body felt more as though I was creating a sculpture. Laurence Demaison : It was a magical experience! From the very first moment, when Robert Delpire called me in person. (I still haven’t recovered!)

My next steps: I want to create my own box construction or experiment more with the one I have already used. I don't want as much materials included in the box, to make it less busy. But the materials I do use, I would like to use different ones, to see how they look all together. I will also focus on taking my images from more of a variety of angles and close-ups, as my previous images were mostly taken from the same face on, eye level angle. Her work with self-portraits originated from her dislike of using models and that she could never get them to follow out her directions to her satisfaction. So she decided that it would be much easier to cut out the communication and use herself as the model so that she could achieve exactly what she intended. Demaison’s distortions are not simply a way to hide herself, but more a way for her to experiment with different techniques and to broaden our way of seeing. Since 2010, she occasionally uses models or dolls. The techniques used – shooting, development, printing – are argentique and produced by the author. No special handling is involved beyond the shooting (except for chemical films inversion, for certain series).

Acrophobia (fear of heights)

La sua opera presenta fugaci richiami ad artisti come Etienne Marey, Andre Kertesz, John Heartfield e Francis Bacon. LODLP : Apart from the monograph, what impact did the prize have on your career? And what is your relationship like with HSBC today ? Laurence Demaison è un fotografa e artista visiva francese, nata nel 1965 . Dopo aver studiato architettura a Strasburgo si avvicina alla fotografia da autodidatta. Il suo lavoro consiste essenzialmente nell’autoritratto.

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