artiste photographe
ABSTRACTIONS ｜ 抽象
Museum of LAFA｜鲁迅美术学院美术馆
Departement of Fine Arts | Shenyang, China
& RÉALITÉS NOUVELLES | ParisCurator: Xi ZHEN
September 23 〜 October 7, 2019
Vernissage on Monday, September 23 at 3:30 pm
Museum of LAFA, Shenyang [ China ]
I am happy to participate in this exhibition where I will present my polyptyk “Ô Fujisan”
INTENT AND NON-INTENT
1905 ART SPACE｜法国新现实主义协会艺术家群展「有意·无意」
1905 Gallery | Shenyang, China
Exhibition “outdoors” of ]RN structure[
July 13 〜 October 7, 2019
I am happy to participate in this exhibition where I will present my “Variations of Light”
The Associative Gallery les Ateliers Agora
ateliers-agora.fr
2 Place Thiers – 13430 Eyguières, in partnership with ESDAC
(School of Design, Applied Arts, Communication of Aix-en-Provence)
dedicates its places of welcome to an exhibition dedicated to photography on the theme
“In the manner of …”
Consciously or unconsciously our photographic activity, whether we are amateur, knowledgeable or professional, always finds its inspiration in the work of a master, a guide, a muse.
Somewhere we become the continuity of his thought, of his work.
It is this point that interests us.
It is this point which is the object of our subject.
Whether he is a writer, poet, filmmaker, photographer, sculptor, painter, this artist has been, perhaps, is still a guide in your photographic work.
Why not become an extension of his work.
Why not express your feelings about a part of his work.
It is not a matter of plagiarizing, copying, imitating or reproducing.
It is a question of drawing inspiration from at least one part of your work, of extending in your own way the way you see and put in image, to give a new approach, a new dimension, a new staging of a subject.
To copy is to be a slave.
To borrow, is more interesting because the idea grows.
Inspiration and evolution is rewarding.
“IN THE MANNER OF …「 Pierre Soulages 」”
#bootstrap_2o17 is a project, which originates in the footsteps of Pierre Soulages light and on a first reflection in 2004 which leads to a netArt project realized on a html page “TrAVerSéE2nUiT 2oo4”, a work of 36 x 1024 pixels (36.864 pixels) which refers to the breakage of silver for digital.
-> www.pozekafee.net/eric.petr/traversee2nuit/
#bootstrap is first and foremost a tribute to Pierre Soulages but also to Edgard Gunzig because they led, without being aware of it, the orientation and the research of my photographic work until recently, when I establish the obvious correlations between Pierre Soulages on the one hand, for my questioning on light as matter and on the other hand, between Edgard Gunzig who, in a second time, made me think about the essence of this luminous material and its timelessness.
The choice of a highly textured Japanese paper, for this series of five non-dissociable elements, is essential insofar as its structure comes, as an echo, recall the physical matter of the “black-light” paintings of Pierre Soulages.
Note: Bootstrap is an explanatory theory of the origin of the universe developed by Edgard Gunzig.
#boostrap_2o17 | pentaptyk #1/3 copies + 1 AP
This Photographic artwork is a series of 5 images (8×12 cm) on a horizontal line of 140 cm.
The photographs are printed on a Washi Fine Art paper 260g fringed and very textured (10×15 cm) and they are frame-mounted without glass with a floating fixation of the image and each frame measures 15×20 cm.
Please look at the details of this artwork
There’s a silent and distant world from ours, a world whose happy and luminous or nocturnal and solitary voice suggests to those who know how to listen that two and not others are the raw materials of photography: Light and Time. Light and Time are the territory that interests the French photographer Eric Petr. The works of his series are more than photographs, they are devotional tributes, luminous gifts to the impalpable consistency of matter. Eric Petr engages with Light and Time a respectful hand to hand, a game of approaches in which to win are all. The light, which writes its essence and which leaves marks of itself on every surface here, in Petr’s works is left free to spread.
It’s incorrupt. Indomitable. It’s fluid and mobile and Time guarantees its flow or, if you prefer, it is left free to write its own story. And what we read, or rather, we observe, is a warp in which each of the elements allows us to admire the irrepressible dynamism of luminescences that have become matter.
Staticity is defeated. So, then that the flow is free, to attend an anthology of forms. The Light, unhinged from the physical plant, is produced in ectoplasmic appearances with irrefutable beauty such as splinters on a dark universe. Other times it is a suggestive, allusive reference, almost to signal a latent presence that will soon threaten to flood the scene. But then, sometimes happens, the benevolent nature of the Light, held by the hand by Time, is produced in figures that remind us of something: although we are not reminded, we don’t wait to recover its memory: there is a magic even in secret; and in front of such a show more than committed to an answer we are called to his admiration. Waterfalls of light, games of light. A “liquid” light, mobile and active.
Eric Petr calls us to assist the invisible, invites us to see the elusive stopped forever in his shots, while we remain aware of having witnessed a prodigy. Moreover, we are witnesses to the unleashing of primordial energy in which the elements possess an ancestral indomitable force; and to this tumult we ask to be transfixed.
Eric Petr knows how to act and takes us on an “electric” journey where, with the mastery of an orchestra conductor, he directs the flickering luminescence of a material that has become a soloist: the Light writes its history and without omitting anything. So here it is while transmuting from the darkest cracks, swallowing the amorphous space of the dark, breaking free in the spectrometric power of the “chroma” and gathering together every single component that composes its nature to give life to a cascade of life.
Because the Light in Petr’s photographs is life that spreads, which affects its passage with a gash in the darkness. The work of Eric Petr, his research is the attempt to return, to give the Light the chance to break free from the debate that sees it with shadows because it definitely takes on the role of protagonist, part that once obtained convinces us about the choice.
Text by, Giuseppe Cicozzetti
Text in English translated from Italian
https://www.facebook.com/scriptphotography/posts/387183108404241
TrAVerSéE2nUiT which in French translates as Traversée de Nuit means in English A night crossing.
This net art photographic project, of 36,864 pixels and composed of 36 views of 1024 pixels scrolling to the rhythm of a crossing of the Mediterranean Sea under a grazing moonlight, is the evocation for the art of photography, of the end of the era of film and the appearance of that of digital; a violent fracture which already announces the death of a technology but which opens up infinite possibilities despite a quality much lower than that of film.
Comment by Éric Petr in 2004
http://www.pozekafee.net/eric.petr/traversee2nuit/
To view all the images on the website, please scroll them to the right with your mouse.
Have a good crossing!
I will expose my new artwork 「 #fragments 」
« The Salon des Réalités Nouvelles is an association of artists and an art exhibition in Paris, focusing on abstract art. The exhibition takes place annually in October and ranks among the top Parisian art salons.
The expression “réalités nouvelles” –“new realities” — was penned in 1912 by the poet Guillaume Apollinaire to designate abstraction as the form best suited to expressing modern reality.
The first exhibition with the name was held in 1939 in Galerie Charpentier, organised by Robert Delaunay, Sonia Delaunay, Nelly van Doesburg and Fredo Sidès.
In 1946 the Salon was officially established as a successor to Abstraction-Création by Fredo Sidès, and its first board included Jean Arp, Sonia Delaunay and Albert Gleizes as members. Sidès was chairman until his death in 1953.
With enthusiastic critical support in its early days, the Salon quickly proved successful, presenting geometric and concrete works by artists such as Jean Dewasne and Victor Vasarely as well as non-figurative works by Pierre Soulages, Georges Mathieu, Vieira de Silva, and Robert Motherwell.
Since 1956, the Salon has embraced all abstract trends, including allusive figuration and conceptual forms, as well as a variety of media ranging from painting and sculpture to photography, installation, and the digital.
Over the years the exhibition has been held at a number of different locations. Since 2004 it has been located at the Parc Floral de Paris, showing painting, sculpture, drawing, photography, installation, engraving, and digital media by over 350 artists each year. Exhibitors are chosen by a jury, based on a portfolio presentation.
Current abstract trends represented include allusive figuration as well as conceptual, concrete, geometric, gestural, haptic, lyrical, and nominalist abstraction. Painters, sculptors, and installation artists show one work each; artists showing smaller format work on paper – such as prints and drawings – are allowed two or three works apiece.
Since 2008, under the leadership of its president Olivier di Pizio, the Salon has expanded its exhibition scope to include a series of “Hors les Murs” (“Beyond the Walls”) shows in France and internationally (Beldrade in 2013 and Beijing in 2014).
The association’s governing committee, presided by Olivier di Pizio, is composed of the following artist-members. »
Eric Petr is a French photographer born in 1961.
He lives in Marseille and, very discreetly, walks around with his camera into public and sacred places. His photographs dazzle, amaze young children through their beauty. They subjugate, astonish mature viewers.
Eric Petr, at seven years old, was a precocious and talented “shooter”. Humble and belonging to no one, his photos, variations of light, summarize what life is: fragility and greatness. …
Why did you choose photography?
I didn’t choose it. It imposed itself on me as if something in my subconscious memory was always connected to it. When I look into the eye of my camera, a distance from the world is created, and this distance is what gives me the necessary space to feel in sync with this world. Ever since I looked though the viewfinder of the 6×9 my father lent me at a very young age, I was fascinated by this alternating ambiguity between being an observer and an actor in the observation. For me, photography is the way to free something unconscious, dominated by an instinctive drive, inspiration.
How did you end up making these types of photos?
It was a long journey, but, in the end, when I think about it, everything is pretty consistant. I always had the desire to draw out the invisible record of the interconnection of universal elements and the relationship that connects us to them.
What would you like to photograph you haven’t yet?
My dream would be to photograph what came before the Big Bang, just to reassure myself and tell that our universe is only a fraction of a spark of a world in perpetual movement, not a world frozen between parentheses, a world without a father.
What influences the figurative for you?
The figurative stabilizes the elements. It assures us that we are. It reassures us in the sense that we can see, is. It creates an image frozen in our present. This image take an atemporal dimension through which our minds can travel in the spacetime of our imagination.
What is the relationship between the brand names Nippon Kogaku, Nikkor and Nikon? A purely personal analysis rooted in Japanese writing.
Explanations…
The NIKON Company was created in 1917 following a merger of three major Japanese optics groups under the name Nippon Kōgaku Kōgyō 日本光学工業 (Japanese Optics SA).
If we unpack, it comes to: 日本 Nippon (Japan) 光学 Kōgaku (Optics) 工業 Kōgyō (Industry).
It was only in 1945, after the war, that the company decided to launch a program for the production of cameras and spectacle lenses.
Between 1945 and 1946, tests were launched and the company moved towards marketing its first camera, under the name NIKON 1, which was actually marketed for a year in 1948, followed shortly afterwards, in 1949, by a second model, the NIKON M.
It was 40 years after giving this name to its first camera, that the firm Nippon Kôgaku Kôgyô 日本光学工業 took the trade name NIKON ニコン Corporation.
But the name NIKKOR ニッコール came long before the firm Nippon Kôgaku Kôgyô changed its name to NIKON ニコン in 1988.
The name NIKKOR ニッコール was registered in 1931 to identify its new line of lenses for photography, whose production was used in particular to supply lenses to the LEICA, CONTAX and then CANON companies until 1947.
But why and how was the name NIKKOR chosen at the time (1931), and what does it mean?
NIKKOR comes from the contraction of Nippon Kôgaku, and an “R” has been added to the end of the new name.
To understand the obviousness of this contraction, we need to look at the interplay of Kanjis (Japanese characters or letters) that occurs.
Indeed, if the explanation doesn’t make sense with Western characters, it becomes much more eloquent when reading Japanese characters or kanji.
Let me explain.
Nippon Kôgaku 日本光学, comes from 日本 (japan) and 光学 (lenses), which gives: “Japanese optics”.
The contraction results from the subtraction of two kanji from the initial name of the firm.
We start from, 日(本)光(学), Ni(ppon) Kō(gaku) or Japanese optics, to arrive at the following contraction, 日光 (Nikkō) which means: “sunbeam”.
We suddenly understand better this subtle transformation which, for someone who knows how to read Japanese, becomes obvious.
Then, simply apply a new spelling to this name, borrowing from another Japanese writing system (Katakana), to obtain with the same phonetics and the same word “Nikkō” 日光 but written:
ニッコー and add to it, an “R” or “ル” to obtain the final result: NIKKOR ニッコール.
The name NIKON, which was found 17 years later for his first camera, NIKON (model no. 1), follows the same logic.
The difference is that the double “K” (or small ッ) disappears, and the “R” (ル) at the end of the NIKKOR name is replaced by an “N” (ン).
Thus, NIKKOR ニッコール becomes NIKON ニコン.
By borrowing the Katakana syllabary to write the names NIKKOR and NIKON, the Japanese writing system used to write foreign words, was the Nippon Kōgaku Kōgyō firm, even back then, showing its desire to make the excellence of its know-how known the world over?
