Ciel Variable 70 - Materia et Lumen
EDITORIAL -That which we cannot see
By Jacques Doyon
Seeing better, seeing farther; disrupting the representation, dissolving
it: these approaches seem contradictory. Yet, paradoxically, they hew
to a single frontier: that of the visible and representable, that of the
limit of our capacity to see and our perceptual expectations.
PORTFOLIO - Michael Flomen, Photograms
Michael Flomen’s works encompass an abstract, oneiric space that we cannot easily reference, for it is openly ambiguous, hovering somewhere between the dream and the waking moment.
A Palimpsest of Pale Fire: The Fabulist Photography of Michael Flomen
Seeing light is a metaphor for seeing the invisible in the visible, for detecting the fragile imaginal garment that holds our planet and all existence together. Once we have learned to see light, surely everything else will follow.
—Arthur Zajonc1
PORTFOLIO - Marie-Jeanne Musiol, Prélèvements
This article was originally published only in French. No translation is available.
Marie-Jeanne Musiol propose un nouveau volet de sa recherche visant à enregistrer l’énergie de la matière par le biais de l’électrophotographie (photographie Kirlian). Prélèvements constitue une plongée dans les champs énergétiques des feuilles de la série Corps de lumière.
Conduction lumineuse du vivant
This article was originally published only in French. No translation is available. – Read the Abstract
C’est une évidence de dire que la lumière est objet de fascination pour les photographes. Elle est leur matière première, ce par quoi tout finit par être révélé et, finalement, visible. Elle est ce par quoi le visible, tout visible, est possible. Elle est donc condition première.
PORTFOLIO - Claudia Fährenkemper, Microcosms
German photographer Claudia Fährenkemper’s powerful black and white photomicrographs are a contemporary expression of the centuries-old human need to know what lies beneath the surface of things.
Interpreting the Microcosm through Photographs
An interest in the aesthetic and decorative potential of the photomicrograph was expressed as early as 1858, when an observer noted, “Any one who will look at a set of illustrations of the Diatomaceae or Desmidiaceae will at once perceive the suitableness of many of their forms for decorative purposes.”1
PORTFOLIO - Paul Lacroix, Pulsations
This article was originally published only in French. No translation is available.
Tout l’œuvre de Paul Lacroix est marqué d’une fascination pour l’inscription de la surface du papier. Du dessin au photogramme, c’est à une écriture d’une cohérence extrême qu’il nous convie.
Paul Lacroix : l’œuvre au noir
This article was originally published only in French. No translation is available. – Read the Abstract
[…]la photographie n’est pas affaire seulement de cadrage, ni de visée, et moins encore d’ouverture du diaphragme ou de durée d’exposition, mais de profondeur de temps (au sens où l’on parle de profondeur de champ).
— Hubert Damisch, La dénivelée
