Sandrine Hermand-Grisel
Photographer
Photographer
Nocturnes
2005 - 2006
Painting and Photography have as many similarities than differences. The differences are obvious both in terms of the technique (paint / film) and their nature (imitation / real). However, the relationship between photography and painting are ambiguous, considering that it is in both cases a two-dimensional representation. We must nevertheless accept that painting has long been the only recognized and considered technic. It was logical at the creation of this new medium because painting comes way back with the 1st paintings appearing on the walls of caves.
But once past the surprise of novelty, we must learn to evolve with time . Why would paint only to be an icon? To attract the attention of their contemporaries, in the late nineteenth sc. photographers mimic the appearance of painting in their photographic works (or more precisely drawings). It is an aesthetic bias that allowed them to get photography recognized as an art. They proved to their detractors that photography is not just an ''hint''. Today's photographers can thank the Pictorialists for been considered real artists nowhadays.
We are far from the days when painters were afraid of photography and where (the photographers) had to struggle to obtain any artistic credibility. The evolution and the media coverage of photography, testifies, if it was needed, of its place in the art world that is far from trivial (today).
So why this project ''Nocturnes'', why this flashback to the source ? Why reinvent a form of Pictoralisme ? Perhaps because the love I have for art in general and painting in particular needed to be expressed. Maybe also because I was looking for softness, let myself go and close my eyes... Close my eyes with my models, dreaming peacefully. I'm just trying to create a universe, a personal vision. I allowed myself to touch the real image, to play with color and the printing process to make an almost unique work of art as would be a painting. It is not so much to alleviate the photographic truth but to take advantage of existing techniques to achieve the images I paint in my head.
The pictorial elements that inspire me are undoubtedly paintings with the technique of chiaroscuro used by Rembrandt in the 17th Century. I wanted to use this technique because it allows you to play on light and shadow in painting, as in my photographs. hadows promote the abandonment of the face in dreams that inhabit it. The technique of chiaroscuro not only accentuates lighting effects, it also helps to highlight a particular point of the story that is told or the dream that is being created...
''Nocturnes'' got a special mention at the 30th Prix Kodak de la critique photographique. The prestigious jury was composed of Harry Gruyaert (Photographer Magnum Photos) , Bertrand Desprez (Agence Vu photographer), John Batho (Photographer), Diane Baratier (Director of Photography) and Yasmine Youssi (Journalist).
2005 - 2006
Painting and Photography have as many similarities than differences. The differences are obvious both in terms of the technique (paint / film) and their nature (imitation / real). However, the relationship between photography and painting are ambiguous, considering that it is in both cases a two-dimensional representation. We must nevertheless accept that painting has long been the only recognized and considered technic. It was logical at the creation of this new medium because painting comes way back with the 1st paintings appearing on the walls of caves.
But once past the surprise of novelty, we must learn to evolve with time . Why would paint only to be an icon? To attract the attention of their contemporaries, in the late nineteenth sc. photographers mimic the appearance of painting in their photographic works (or more precisely drawings). It is an aesthetic bias that allowed them to get photography recognized as an art. They proved to their detractors that photography is not just an ''hint''. Today's photographers can thank the Pictorialists for been considered real artists nowhadays.
We are far from the days when painters were afraid of photography and where (the photographers) had to struggle to obtain any artistic credibility. The evolution and the media coverage of photography, testifies, if it was needed, of its place in the art world that is far from trivial (today).
So why this project ''Nocturnes'', why this flashback to the source ? Why reinvent a form of Pictoralisme ? Perhaps because the love I have for art in general and painting in particular needed to be expressed. Maybe also because I was looking for softness, let myself go and close my eyes... Close my eyes with my models, dreaming peacefully. I'm just trying to create a universe, a personal vision. I allowed myself to touch the real image, to play with color and the printing process to make an almost unique work of art as would be a painting. It is not so much to alleviate the photographic truth but to take advantage of existing techniques to achieve the images I paint in my head.
The pictorial elements that inspire me are undoubtedly paintings with the technique of chiaroscuro used by Rembrandt in the 17th Century. I wanted to use this technique because it allows you to play on light and shadow in painting, as in my photographs. hadows promote the abandonment of the face in dreams that inhabit it. The technique of chiaroscuro not only accentuates lighting effects, it also helps to highlight a particular point of the story that is told or the dream that is being created...
''Nocturnes'' got a special mention at the 30th Prix Kodak de la critique photographique. The prestigious jury was composed of Harry Gruyaert (Photographer Magnum Photos) , Bertrand Desprez (Agence Vu photographer), John Batho (Photographer), Diane Baratier (Director of Photography) and Yasmine Youssi (Journalist).
Nocturnes
2005 - 2006
Painting and Photography have as many similarities than differences. The differences are obvious both in terms of the technique (paint / film) and their nature (imitation / real). However, the relationship between photography and painting are ambiguous, considering that it is in both cases a two-dimensional representation. We must nevertheless accept that painting has long been the only recognized and considered technic. It was logical at the creation of this new medium because painting comes way back with the 1st paintings appearing on the walls of caves.
But once past the surprise of novelty, we must learn to evolve with time . Why would paint only to be an icon? To attract the attention of their contemporaries, in the late nineteenth sc. photographers mimic the appearance of painting in their photographic works (or more precisely drawings). It is an aesthetic bias that allowed them to get photography recognized as an art. They proved to their detractors that photography is not just an ''hint''. Today's photographers can thank the Pictorialists for been considered real artists nowhadays.
We are far from the days when painters were afraid of photography and where (the photographers) had to struggle to obtain any artistic credibility. The evolution and the media coverage of photography, testifies, if it was needed, of its place in the art world that is far from trivial (today).
So why this project ''Nocturnes'', why this flashback to the source ? Why reinvent a form of Pictoralisme ? Perhaps because the love I have for art in general and painting in particular needed to be expressed. Maybe also because I was looking for softness, let myself go and close my eyes... Close my eyes with my models, dreaming peacefully. I'm just trying to create a universe, a personal vision. I allowed myself to touch the real image, to play with color and the printing process to make an almost unique work of art as would be a painting. It is not so much to alleviate the photographic truth but to take advantage of existing techniques to achieve the images I paint in my head.
The pictorial elements that inspire me are undoubtedly paintings with the technique of chiaroscuro used by Rembrandt in the 17th Century. I wanted to use this technique because it allows you to play on light and shadow in painting, as in my photographs. hadows promote the abandonment of the face in dreams that inhabit it. The technique of chiaroscuro not only accentuates lighting effects, it also helps to highlight a particular point of the story that is told or the dream that is being created...
''Nocturnes'' got a special mention at the 30th Prix Kodak de la critique photographique. The prestigious jury was composed of Harry Gruyaert (Photographer Magnum Photos) , Bertrand Desprez (Agence Vu photographer), John Batho (Photographer), Diane Baratier (Director of Photography) and Yasmine Youssi (Journalist).
2005 - 2006
Painting and Photography have as many similarities than differences. The differences are obvious both in terms of the technique (paint / film) and their nature (imitation / real). However, the relationship between photography and painting are ambiguous, considering that it is in both cases a two-dimensional representation. We must nevertheless accept that painting has long been the only recognized and considered technic. It was logical at the creation of this new medium because painting comes way back with the 1st paintings appearing on the walls of caves.
But once past the surprise of novelty, we must learn to evolve with time . Why would paint only to be an icon? To attract the attention of their contemporaries, in the late nineteenth sc. photographers mimic the appearance of painting in their photographic works (or more precisely drawings). It is an aesthetic bias that allowed them to get photography recognized as an art. They proved to their detractors that photography is not just an ''hint''. Today's photographers can thank the Pictorialists for been considered real artists nowhadays.
We are far from the days when painters were afraid of photography and where (the photographers) had to struggle to obtain any artistic credibility. The evolution and the media coverage of photography, testifies, if it was needed, of its place in the art world that is far from trivial (today).
So why this project ''Nocturnes'', why this flashback to the source ? Why reinvent a form of Pictoralisme ? Perhaps because the love I have for art in general and painting in particular needed to be expressed. Maybe also because I was looking for softness, let myself go and close my eyes... Close my eyes with my models, dreaming peacefully. I'm just trying to create a universe, a personal vision. I allowed myself to touch the real image, to play with color and the printing process to make an almost unique work of art as would be a painting. It is not so much to alleviate the photographic truth but to take advantage of existing techniques to achieve the images I paint in my head.
The pictorial elements that inspire me are undoubtedly paintings with the technique of chiaroscuro used by Rembrandt in the 17th Century. I wanted to use this technique because it allows you to play on light and shadow in painting, as in my photographs. hadows promote the abandonment of the face in dreams that inhabit it. The technique of chiaroscuro not only accentuates lighting effects, it also helps to highlight a particular point of the story that is told or the dream that is being created...
''Nocturnes'' got a special mention at the 30th Prix Kodak de la critique photographique. The prestigious jury was composed of Harry Gruyaert (Photographer Magnum Photos) , Bertrand Desprez (Agence Vu photographer), John Batho (Photographer), Diane Baratier (Director of Photography) and Yasmine Youssi (Journalist).
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