LOUBERT Ann, PAYOT Daniel, RECHT Roland, THELOT Jérôme, ZIMMER Alexis.
Stéphane Spach, photographer.
The Contemporary Workshop
Regular price
€35,00
| N° d'inventaire | 26159 |
| Format | 22 x 30 |
| Détails | 336 p., paperback. |
| Publication | Paris, 2022 |
| Etat | Nine |
| ISBN | 9782850351020 |
Stéphane Spach gleans and collects. He removes the scenery, fixes it, and repeats.
He only plants one to better reveal the contours and bare materiality of the object.
It is almost always a matter of untying the object, of freeing it from its bonds, in order to make it look different (to make it feel, touch differently, because these objects thus grasped are full of notches, folds and scratches).
Then, the familiarity – or lack thereof – of the relationship we had with him begins to surreptitiously waver. The familiar is unsettling, and it is through this that it arouses, almost compels, attention.
The particular attention he devotes when capturing landscapes is just another aspect of this work, which seeks to create a framework for a celebration of the ordinary. A banality – of places, of the elements that compose them – which lies on the threshold of our familiar gaze, of their absence or their erasure.
He only plants one to better reveal the contours and bare materiality of the object.
It is almost always a matter of untying the object, of freeing it from its bonds, in order to make it look different (to make it feel, touch differently, because these objects thus grasped are full of notches, folds and scratches).
Then, the familiarity – or lack thereof – of the relationship we had with him begins to surreptitiously waver. The familiar is unsettling, and it is through this that it arouses, almost compels, attention.
The particular attention he devotes when capturing landscapes is just another aspect of this work, which seeks to create a framework for a celebration of the ordinary. A banality – of places, of the elements that compose them – which lies on the threshold of our familiar gaze, of their absence or their erasure.
He only plants one to better reveal the contours and bare materiality of the object.
It is almost always a matter of untying the object, of freeing it from its bonds, in order to make it look different (to make it feel, touch differently, because these objects thus grasped are full of notches, folds and scratches).
Then, the familiarity – or lack thereof – of the relationship we had with him begins to surreptitiously waver. The familiar is unsettling, and it is through this that it arouses, almost compels, attention.
The particular attention he devotes when capturing landscapes is just another aspect of this work, which seeks to create a framework for a celebration of the ordinary. A banality – of places, of the elements that compose them – which lies on the threshold of our familiar gaze, of their absence or their erasure.