Laurine at the Big G

Artist
VPMG Image
Laurine at the Big G (2017) FINE ART DIGITAL PRINT
  • Dimensions : 30 x 30 cm
  • Print : Print n°2/6
  • Framing : No
  • Guarantee :
    Certificate by the artist
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€600.00
Delivery: One to two weeks
Aditional Information
Period Contemporary (1945-today)

Fine art inkjet print on Hahnemühle Photo Rag 308g paper with cardboard lamination. Edition n°2 of 6 in this format. Work awarded at the Fine Art Photography Award in 2019. Work sold unframed. 

Gravity shapes and give strength to the human body. Since my early years as a climber and now as an amateur photographer, I wanted to show the genuine (non sexualized) beauty of the human body grappling with the constraint of verticality and the (almost living) organic shapes of sandstone, which is sometimes soft-touch as skin. Whereas sport photography is often about showing performance, nude fine art photography can easily fall down on the cliché of charm. For this nude rock climbing project, I choose models who had no previous experience in rock climbing. They had to deal with the very few moving possibilities offered by the climbing holds, whose three-dimensional disposition is similar to a syntactical framework where you have to find the path to the least effort, which in climbing is the way to Beauty. Composing with their body limits, lack of strength and even sometime lack of balance, they progressively forget about the mental conditioning of posing nude and discovered a personal way to dance with the rock. All pictures were taken in famous routes that have been climbed by generations of climbers and that are renowned for years, all in the forest of Fontainebleau (France) which is one of the very few places in Europe where rock climbing started to be a sport at the end of the 19th Century. But as an other constraint to expand my liberty, I light-shaped the sandstone with studio strobes, trying to make it alive and escaping from the accurate representation of reality. And as in a dream, the pictures came. Here, Laurine is starting a route graded 7a and called the "Big G" at Franchard Raymond. 

Artist Biography

Amateur photographer for about thirty years and member of the French Federation of Photography, I first started to photograph landscapes and cities in color, with an attraction for the traces of the past, the organic character of the mineral and the continuity of living.

Fifteen years ago, I made the decision to go in the exact opposite direction of what I knew how to do at the time: I turned to studio photography, the use of artificial lights and the leading of models. At the end of the 2000s, frequent trips abroad allowed me to discover artists who were rarely, if ever, shown in France, such as Dan Winter, Howard Schatz and Anderson & Low, whose treatments of the feminine around power, technology or sport escape sexualization and essentialist discourses. At the same time, I was also struck by Irving Penn's series of portraits made between 1946 and 1948 for Vogue magazine, in which personalities who usually control their image so well step out of the frame thanks to the artifice of a constraint - the inscription of the body in the obtuse angle of a wall. A device of discomfort can lead to having to assert ourselves more alive and free from the determinants that alienate us. I then began to work in search of this freedom on portraits and nudes.

The photographs in this project were produced using the holds and volumes of rocks usually frequented by climbers to lead the models to become one with nature again. It was the rock and the grammar - organic is its light - that made it possible for a network of constraints to free the body. It was a matter of leaving the models free to experiment with their movements, their balance and their placement in a geometry that was unfamiliar to them so that these women could also break free from the expectations in which photography tends to confine the female nude.

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