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2023-10-11 14:37 |
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签到天数: 10 天 连续签到: 1 天 [LV.3]偶尔看看II
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作者：Marc Fichou
这一组照片获得27届英国国际摄影大赛年度图片回顾(27th annual Photo Review International Photography Competition)第二名
折的不咋地，可是人家拍的好~~~~~~~~~~~~~~~
折纸和纸是两个不同时间不同空间的同一物件。
将折纸和折纸展开后保留其折痕的纸用相机拍摄并叠加，创建一个联系过去与未来
的可视化含义。
三维的动物折纸是与外界关联的一种形式，然后再将人们的注意拉回后面的原始材
料纸张以及上面的折痕。接着是照片中动物折纸与纸张褶皱的重合部分，这种重合模糊图
像与物质本身的界线。
这组作品曾在2011年9月24至11月5日期间在宾夕法尼亚州大学艺术画廊展出
下附相关新闻报道：
Marc Fichou is the Second Prize winner of the 27th annual Photo Review
International Photography Competition juried by Robert Mann.
Gabriella Radujko: Origami Shark is a photograph of a three-dimensional
origami shark figure superimposed on the original, deconstructed kraft
paper used to make it. What was the formative idea for this piece in
particular and the series in general?
Marc Fichou: With the origami series, initially, we notice the image of
a thing or animal. Then we become aware of an origami, a piece of paper.
Finally, we realize that they are the same thing, just different facets
which are revealed in different stages of time and space. It was my idea
to first stimulate the mind, the imagination of the viewer, then to draw
him inside the image, within the space where the origami is. Finally,
through reasoning, he returns to reality and sees that what is actually
before him is nothing but a sheet of paper.
I wanted to demonstrate how increasingly evolving technologies enable us
to merge the real with its image. Subsequently, we record reality and
revisit it in the form of images. But our memory can only retain the
real time moment for a few seconds before becoming memories which
furthermore evolve over time.
Memories reactivated by our minds involve a consciousness of who we once
were as in “I am the child I once was.” In contrast, memories captured
using technologies like the still camera or video are somewhat dead.
These images, then, transport us to a time that has disappeared or no
longer exists while simultaneously suggesting that we are experiencing
that reality in real time. The images we capture are those of the past
only; we cannot escape the material world.
GR: When discussing your work, you mention reuniting matter and its
image, presence and absence, here and there, before and now. How are
these concepts manifested in Origami Shark?
MF: In a classic photograph, the subject is captured in an image and
then printed on paper. The image reunites us with the absence of the
subject, i.e. “it or he was there at that time.” In contrast, Origami
Shark is the material support, the sheet of paper on which it was
printed. Indeed it was captured in different moments and shapes, but it
is one and the same thing. With Origami Shark, the absence of the
origami is connected to the presence of its double, the sheet of paper.
GR: Thirty years ago, in 1981, the exhibit “Cubism and American
Photography 1910–30” was held at the International Museum of
Photography at the George Eastman House. It rekindled a debate about
cubism’s role in ushering in modern photography in the early 20th
century. To what extent does cubism influence your photography?
MF: The appearance of photography in the 19th century and its ability to
capture events and people robbed the painter of mnemotechnical work and
challenged representation, changing the role of the artist in the
process. The reaction was Impressionism, something that photography
could not grasp. Since then and into a period of widespread use of
photography through the 1990s, photography has tried to become
recognized as a major art form, thus using ideas found in movements like
cubism.
In my work, I have chosen to combine mediums and use a variety of
technologies available to me to realize my ideas. With the origami
series, I used photography because of its ability to freeze the moment
as well as painting to color the sheet of paper with the blue color of
the ocean. As for influences, I am not looking to transgress but rather
remain open to ideas and movements. That would include cubism as it
appears in my origamis, but it was not planned.
GR: What emerging trends in fine art photography interest you? How are
you integrating those trends, if applicable, to your own practice?
MF: I am interested in plastician photography in general, but I
especially like the works of artists like Lauren Marsolier who has been
able to transgress her medium using the technological tools of our time.
To some degree, the artist integrates the work of his peers within his
own, but as far as I am concerned, it is never intentional. But once the
work is completed, it is often apparent.
GR: Which photographic images and/or photographers inspire you? Which
non-photographic influences inspire you?
MF: Joseph Kosuth’s conceptual photography interests me. He juxtaposes
an object, its full-scale photographic reproduction and its dictionary
definition. Also, the work of plastician photographer Sophie Calle,
primarily her use of photography as narrative, but also her displays
where the support is made prominent and takes on a sculptural form. We
find similar experiences in Rene Magritte’s paintings. He combines
words and images with their support, subsequently questioning the real
and its representation. Video art pioneers like Nam June Paik and Peter
Campus are also influences. At the other end of the spectrum is outsider
art. I like it for its spontaneity and because it both conceals and
reveals the psychology of its creator. But my most important influences
come from philosophy and psychology, especially the ground-breaking
theories developed by Henri Bergson and Jacques Lacan.
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