Artist Paul Rousteau’s follow pushes pictures to its restrictions, distorting reality and breaking absolutely free of common illustration criteria. Mixing the medium with electronic art and painting, his do the job is an experimental hybrid, examining the partnership involving portray and photography.
It is with this pictorialistic strategy that Rosteau visited Claude Monet’s back garden in Giverny, France. Struck by the simultaneous paradise of the gardens and the “trivial vision of groups roaming it as a vacationer attraction,” Rousteau considers how novice images in the digital age has shifted our connection to the medium. “I looked in the countless numbers of daily illustrations or photos made at and on Giverny,” he points out. “Bugs, glitches, software program glitches and other electronic alterations are then printed, painted upon, and re-photographed, as a result questioning the standing of the photographic graphic, of its creator, and of its consumption in the digital era.”
“These photos are a testimony to an amused reflection on the successive methods of an inventive motion. From its belittled avant-garde beginnings to its accession to mainstream society. Shifting to a professional and ornamental standing, a single emptied of its groundbreaking principles. Concerning sacred and profane, my eyesight navigates between an homage to the Impressionist master and an iconoclastic reappropriating of an oeuvre, contributing in the creation of a new medium we, mistakenly, continue on contacting Photography.”
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