Visual Calculus in Photography Spotlight 2

visual-calculus-in-photography-1

March 3-31

Opening March 3 from 6-9pm

Alain Laforest | Catherine Aboumrad | Daniel Miller | Guy Glorieux | Guy Lafontaine

Jean Lauzon | Marie-Reine Mattera and Emmanuel Joly | Robert Slatkoff

Spotlight 1

STATEMENT

“Visual Calculus in Photography” is a one-time reunion of a chosen group of talented photographers who have built for themselves a solid reputation through their personal research, exhibition, writings and publications.

This exhibition emphasis the importance of image construction/composition in photography. A visual space where each photographer places the various elements that they wish to photograph in an orderly/chaotic fashion. A clear aspect of visual balance, a unique set of geometry rules, a distinct set of elements juxtaposition is present for each image.

For each photographer, a complex mental equation gets resolved when constructing their various images. As if, they get both sides of the complex visual equation at hand resolved, in perfect balance. An equation for which only they have the solution.

Alain Laforest

alain-laforest

How do you begin to construct an image

I work mainly on series. Which often starts with one single shot that is often intuitive. The analysis of the photo then triggers an awareness of the subject’s interest. Gradually, by adding photos and moments of thought on the subject, the theme of the series takes on depth.

The shooting then takes place in a search of images that can evolve the concepts and the theme of the series. At that stage, the photos are taken in a mixture of research of relevance — therefore highly calculated — and intuitive process, as they are captured in the streets, finds discovered at random, in the tradition of the snapshot.

Jean Lauzon

Jean Lauzon.png

How do you begin to construct an image?

Constructing an image involves not so much construction as a kind of metamorphosis. For my part, my eye constantly attempts to see images that do not necessarily appear to the average person. I see the frames, the compositions, the luminosities that are there, in the so-called real world. But I have to make images out of them, in this case with a photographic device, and ensure that what I visualized can be metamorphosed into an image, often black and white, with certain grey tonalities as seasoning. And also ensure that this flat surface—framed, composed—can serve as an intermediary, at once opaque and transparent, to transform the object in a relationship with reality, which is the only link we have, more often than not, with images, photographic or otherwise. This is the only way we can get through this test of reality, which is often painful but in no way insurmountable.

Marie-Reine Mattera and Emmanuel Joly

Mattera and Joly.jpg

How do you begin to construct an image?

Marie-Reine                                                                                                                                                Since a very young age, i frame my images intuitively. This natural and particular way of seeing is at the root of my relation with photography, all others aspects came to me along the way. I don’t frame with a preconceived vision in mind, i live the image composition as a physical experience thru my viewfinder. Through the years, I have acquired some technical knowledge and developed a deep relation with light. Allowing me to frame and photograph in a rather inspired and natural way.

Emmanuel                                                                                                                                                                         I don’t construct images, i meet them. I set up, look for my position, place and place my frame again. I look again and again for an equilibrium point between the tensions existing within my frame. Up to the moment of truth, the perfect combination of time and the 3 dimensions of the reality before me.

Robert Slatkoff

Robert Slatkoff.png

How do you begin to construct an image

My work can best be described as abstract landscapes that are painterly and photographic at the same time.

It begins in the camera. I take images of walls, metal containers, fishing boat bottoms (in dry dock) etc, I never plan in advance. I wait until I find something I respond to emotionally and take it no matter what it is or how I think it might be used. This spontaneous response is essential. If I don’t respond to a subject intuitively it won’t work. The raw material is imported into photoshop. I then begin with a promising image and bring out its essential qualities. Sometimes a satisfying composition will be right there or only a part of it will interest me.Often I combine several images working intuitively and sometimes quite quickly. The blending techniques often lead to pleasant surprises either in color or composition. When I discover something exciting I begin work to refine it making the necessary compositional and color adjustments. It is the unexpected results that often please me the most.

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