Silvana Reggiardo's relationship with photography is based on a sensitive experience: the experience of walking, of space, visual experience, instrumental experience.
Without seeking to document reality, Silvana Reggiardo sees the photographic tool above all as an object of vision rather than an instrument of capture. While her modus operandi borrows from street photography, she practices extreme proximity by abolishing distance with a telephoto lens, thus provoking a loss of reference points. Urban spaces are her preferred field of experimentation.
The photographic act enables her to access their own optical dimension, playing on oppositions of opacity/transparency, interior/exterior, public/private space, drawing on the properties of modernist architectural materials - mirror, one-way mirror, glass and steel.
The work presented here revolves around a photograph of a window displaying a light installation reminiscent of a work by Dan Flavin. As a counterpoint to this image, works from three distinct series adopt viewpoints that play with fragment and detail.
The colored reflections on a steel column in "Untitled, New York" conjure up synthetic landscapes. " L'air ou l'optique" focuses on light variations captured on the glass surfaces of monolithic office facades.
The interference of glass always imposes itself, either through the marks that mar its surface, or through the optical distortion caused by its reflective properties. In "Effet de seuil", Silvana Reggiardo' s work focuses on the intermediate zones that separate public and private spaces. Here, the threshold effect could refer to the particular state in which the image shifts from figuration to abstraction, exploring its limits through a double play with the reflections of the glass panes photographed and the glass of the frame.
Silvana Reggiardo's relationship with photography is based on a sensitive experience: the experience of walking, of space, visual experience, instrumental experience.
Without seeking to document reality, Silvana Reggiardo sees the photographic tool above all as an object of vision rather than an instrument of capture. While her modus operandi borrows from street photography, she practices extreme proximity by abolishing distance with a telephoto lens, thus provoking a loss of reference points. Urban spaces are her preferred field of experimentation.
The photographic act enables her to access their own optical dimension, playing on oppositions of opacity/transparency, interior/exterior, public/private space, drawing on the properties of modernist architectural materials - mirror, one-way mirror, glass and steel.
The work presented here revolves around a photograph of a window displaying a light installation reminiscent of a work by Dan Flavin. As a counterpoint to this image, works from three distinct series adopt viewpoints that play with fragment and detail.
Silvana Reggiardo's relationship with photography is based on a sensitive experience: the experience of walking, of space, visual experience, instrumental experience.
Without seeking to document reality, Silvana Reggiardo sees the photographic tool above all as an object of vision rather than an instrument of capture. While her modus operandi borrows from street photography, she practices extreme proximity by abolishing distance with a telephoto lens, thus provoking a loss of reference points. Urban spaces are her preferred field of experience.
The colored reflections on a steel column in "Untitled, New York" conjure up synthetic landscapes. " L'air ou l'optique" focuses on light variations captured on the glass surfaces of monolithic office facades.
The interference of glass always imposes itself, either through the marks that mar its surface, or through the optical distortion caused by its reflective properties. In "Effet de seuil", Silvana Reggiardo' s work focuses on the intermediate zones that separate public and private spaces. Here, the threshold effect could refer to the particular state in which the image shifts from figuration to abstraction, exploring its limits through a double play with the reflections of the glass panes photographed and the glass of the frame.
The photographic act enables him to access their inherent optical dimension, playing on oppositions of opacity/transparency, interior/exterior, public space/private space, drawing on the properties of modernist architectural materials - mirror, one-way mirror, glass and steel.
The work presented here revolves around a photograph of a window displaying a light installation reminiscent of a work by Dan Flavin. As a counterpoint to this image, works from three distinct series adopt viewpoints that play with fragment and detail.
The colored reflections on a steel column in "Untitled, New York" conjure up synthetic landscapes. " L'air ou l'optique" focuses on light variations captured on the glass surfaces of monolithic office facades.
The interference of glass always imposes itself, either through the marks that mar its surface, or through the optical distortion caused by its reflective properties. In "Effet de seuil", Silvana Reggiardo' s work focuses on the intermediate zones that separate public and private spaces. Here, the threshold effect could refer to the particular state in which the image shifts from figuration to abstraction, exploring its limits through a double play with the reflections of the glass panes photographed and the glass of the frame.
Born in Argentina in 1967, photographer Silvana Reggiardo lives and works in Paris. Urban spaces are her preferred field of experience.
As a preview, we present the limited edition of Philippe Chancel's Rebel's series: a superb drawer box with 12 original photographs signed by the artist.
Edition of 12 and two artist's proofs, pigment prints on Baryta Prestige paper, 33 x 48 cm.
"Like them, I'm 20. Paris, outside at night, inside shining. In the early 80s, the triangle of Grands Boulevards, République and Gare de l'Est marks their territory. The '50s erupt in violence, like a West Side story, between two rival gangs from the suburbs and uptowns: the Vikings and the Panthers. Black, white and brown. Handsome, but already shattered. The buzz is all about tribes and looks, the trendy press is looking for something new and interesting, and I'm convinced I've found the hottest story of the moment.
Embrouilles, but above all, and this is what I came for, this damn trilogy of sex, drugs and Rock&Roll. I immerse myself fully with them, accepted, rejected, or caught in the crossfire. For over a year, I photographed these nocturnal crossings and these much-desired drifts, fighting with my flash boosted by the tri X of my Nikon. In an attempt to chime in on the blazing, full-throttle life that unfolds before my eyes in the buried hope of a single, possible tomorrow."
Born in 1959, Chancel has been pursuing a photographic experiment at the intersection of art, documentary and journalism for over twenty years.
Images: photographic work by Silvana Reggiardo © Silvana Reggiardo / Galerie Melanie Rio Fluency.