Artist Paul Rousteau’s observe pushes photography to its boundaries, distorting fact and breaking free of charge of common representation criteria. Mixing the medium with digital artwork and painting, his operate is an experimental hybrid, examining the connection between painting and images.
It is with this pictorialistic strategy that Rosteau visited Claude Monet’s yard in Giverny, France. Struck by the simultaneous paradise of the gardens and the “trivial eyesight of groups roaming it as a tourist attraction,” Rousteau considers how beginner images in the digital age has shifted our romantic relationship to the medium. “I looked in the thousands of day-to-day pictures developed at and on Giverny,” he clarifies. “Bugs, glitches, program mistakes and other electronic alterations are then printed, painted on, and re-photographed, therefore questioning the status of the photographic image, of its author, and of its use in the electronic period.”
“These illustrations or photos are a testimony to an amused reflection on the successive ways of an artistic motion. From its belittled avant-garde beginnings to its accession to mainstream lifestyle. Shifting to a business and ornamental standing, a person emptied of its innovative principles. Among sacred and profane, my vision navigates among an homage to the Impressionist master and an iconoclastic reappropriating of an oeuvre, contributing in the generation of a new medium we, mistakenly, continue on calling Photography.”
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