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Marlou Pulles
Marlou Pulles
Marlou Pulles

Marlou Pulles

Country: Netherlands
Birth: 1965

Marlou Pulles is an Amsterdam City photographer, who explores themes of stillness and awareness. She studied Art History at the University of Utrecht, with a specialization in Dutch paintings of the 17th century. Inspired by the classical beauty of the food still-lifes of the famous painter Adriaen Coorte, she wanted to create images herself. She graduated in 2012 from Photography School Statief in Utrecht. Her still-lifes are aesthetic explorations of daily life objects.
Placing the objects in an unconventional way, they become alive.

About Shaping Blocks
The abstract compositions she created consist of handmade wooden blocks from India, which are usually used as craft pieces for printing on textiles. Hit by the geometric beauty of these so called 'blockprints', which were designed by Nathalie Cassee , she searched in this series for balanced compositions.
Playing with shapes, lines, colors and depth she wants to make still-lifes, that forces you to take your time and to see the individual elements in a different way. The compositions seem to float, and are constructed like collages. The movement that arises connects the blocks and the new aesthetic shapes radiate tranquility.

Website

www.puurpulles.nl

 

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Laurent De Gebhardt
Laurent De Gebhardt
France
1969
My childhood and adolescence were nourished by painting galleries and museums. Portrait and nude were my preference. After my studies, I crossed the Sahara and moved to the African bush for 2 years as a teacher then moved to Reunion Island where I began to make photo reports for NGOs. For a few years now, I have developed personal projects in artistic residency, mainly oriented towards the intimate and the portrait. My inner universe is imbued with a quest for an "original state" prior to any injury. The face is very often a revealing which does not deceive of this interior state and this quest specific to each one. Fascinated by the energy given off by the expression of a face, my work tries to draw closer with portraits to the reading of these inner states, perhaps to find my own way. Taxidermus Taxidermus is a series produced with the staff of the St-Denis Natural History Museum (Reunion Island). I wanted to play with the same characteristic codes of the first photos of the 19th century. The characters created posed with studied seriousness, in classic postures based on carefully chosen elements: armchair, desk, mirror, easel... Adventure and travel stories nourished my imagination from childhood and I found behind the scenes of the museum an atmosphere suitable for reviving these stories. I installed lights to recreate these chiaroscuro from the Flemish school and with the assistance of a team I dressed and styled these characters using authentic period costumes. I also found period objects in local associations and my hairdressing assistant studied period hairstyles to reproduce them as closely as possible
Isabeau De Rouffignac
Isabeau De Rouffignac
France
I followed an artistic career path with a drawing baccalaureate, 2 years of preparatory classes at the Met de Penninghen studio, then I entered the graphic art school. This was followed by a long experience in design agencies (Design Strategy Orchestra), communication agencies (CPP) and manufacturing agencies (Vision Prod) as an employee and then as a freelancer since 1999. It is this status that will allow me to devote myself to photography, which I discovered in the 2000s. It was a revelation, and soon became obvious. Since then, I have been photographing worlds far and near, between a documentary approach and a resolutely artistic approach. A line of conduct, like a thread that runs through my work and gives it coherence: approaching the other, taming them, taking the time, learning their language, being forgotten, with a gaze that is always curious and fundamentally empathetic. Four photographic editions were born from this work. Since 2017, I devote all my time to photography. And although I have an initial training that integrates the work of the image and a long-standing photographic practice, I felt the need to go further, to question my writing, and I have therefore attended several workshops and training courses. (Arles, Cifap, Gobelins) In 2018, I became a member of Studio Hans Lucas Today, the more I advance in my artistic practice, the more I approach my projects from a documentary point of view, but with an aesthetic or even plastic approach from the start. By mixing these different ways of working on my subject, I leave the imposed categories (documentary, plastic photography, etc.) to invent my own language that allows me to convey a message (environmental, social, humanitarian, political, etc.). This is the case in my latest work in India, pleas. In Bhopal, they point out the consequences of the worst chemical disaster the world has ever known, and in Rajsamand, they tell of the difficult working conditions of the miners. Statement An intuition, a call following the reading of an article or a book, moves me from my daily life in the metropolis and I set off to meet the other. The country is always far away, the situation speaks of a reprieve. Through photography I seek an encounter with the other, the other in what is different about him, his way of life, his language, which I try as much as possible to learn in order to be in touch with him. I am looking for an encounter with a place that also has its own language that often says the impalpable, what does not always appear at first sight, a place to be deciphered. In these encounters, I also seek an encounter with myself, because the other person questions me, challenges me, shakes up my preconceptions, pushes me to question myself. In my last work on the miners of Rajasthan, I sought to pay tribute to men in pain, working in sandstone or marble quarries, working without safety clothing, for a ridiculous salary, without a work contract, and more than half of whom suffer from silicosis because they work without masks. In most of my other photographic works, I try to bear witness but also to show a cultural heritage that is on the verge of disappearing, and to talk about those who keep it alive and often fight against a progressive assimilation. Of course, the time needed for these encounters, for this acceptance by the communities in which I immerse myself, implies taking time. A lot of time. It is the only way to establish the links that open doors, give access to knowledge, beliefs, and sometimes even confidences. Learning the Hindi language has helped me to better understand the personal stories of all the men and women I have photographed, to understand the distress that lies behind their dignity. I try to document the issues through personal stories that are each unique and singular. This is what I have done here with the miners of Rajasthan, or previously with the women of Bhopal, the postmen of Rajasthan, or the Akhas of Thailand. I offer you my view, nourished by what my encounters have revealed to me, my way of documenting it, as close as possible or with distance when necessary. A view that I hope will open up the possibility of better understanding, or at least of trying. That's already a lot.
Raymond Cauchetier
Raymond Cauchetier
France
1920 | † 2021
Raymond Cauchetier was a French photographer, known for his work as the set photographer from 1959 to 1968 on many films of the French New Wave. His photographs are an important record of the New Wave directors at the beginning of their careers, and of their unconventional and groundbreaking production methods. A 2009 profile of Cauchetier in Aperture magazine declared that his photographs "are themselves central works of the New Wave." Cauchetier was born in Paris on 10 January 1920. His mother worked as a piano teacher. She raised him as a single parent; he never met his father. Cauchetier dropped out after completing grammar school. He escaped from Paris by bicycle and joined the French Resistance after the Fall of France in 1940. After World War II ended, Cauchetier enlisted in the French Air Force as the First Indochina War was unfolding. He began his career in photography there serving as a combat photographer in Vietnam. He consequently purchased his own Rolleiflex camera and utilized it for most of his career. Cauchetier was conferred the Legion of Honour by Charles de Gaulle, in recognition of his battlefield work. Cauchetier remained in the region after his service in the Air Force concluded, taking pictures of Angkor Wat in Cambodia. He gifted a set of 3,000 pictures to Norodom Sihanouk, which were ultimately destroyed by the Khmer Rouge. Cauchetier met director Marcel Camus, who was in Cambodia to shoot the film Mort en fraude (Fugitive in Saigon), in 1957. He was subsequently recruited as the set photographer. Upon Cauchetier's return to France, he failed to find work as a photojournalist. He was instead employed to take pictures for photo-romans, a kind of photographic graphic novel, by publisher Hubert Serra. Through Serra, Cauchetier became acquainted with Jean-Luc Godard, then working as a film critic and hoping to become a filmmaker himself. Godard hired Cauchetier as the set photographer for his debut film, À bout de souffle (1960), a breakthrough both for Godard and for French cinema. Other films Cauchetier worked on include Léon Morin, prêtre, directed by Jean-Pierre Melville, and Jules et Jim (1962) by François Truffaut. His photographs of the production in 1960 of Godard's film, Une femme est une femme, captured off-camera moments of Godard and lead actress Anna Karina. Godard and Karina married the following year. Raymond Cauchetier stopped working as a set photographer in 1968 due to the job's low pay. He continued publishing photographs, but his images from the New Wave are considered by critics to be his best work. Amendments to the copyright law of France in the mid-2000s granted photographers the rights to pictures they had captured as a paid employee. Consequently, many of Cauchetier's previously unseen works were able to be released. His collection titled Photos de Cinéma was published in 2007. Six years later, the Academy of Motion Picture Arts and Sciences hosted an exhibition of his work in Los Angeles. He went on to publish the artist's book Raymond Cauchetier’s New Wave in 2015. Raymond Cauchetier turned 100 in January 2020. In September of that year, an exhibition of his notable photos was held at the Galerie de l'Instant in Paris. He died five months later on 22 February 2021 in Paris. He was 101, and was diagnosed with COVID-19 during the COVID-19 pandemic in France prior to his death.Source: Wikipedia Taking a photojournalist’s approach to the job, he instead shot Belmondo and Seberg in action, making carefully framed, richly textured photographs that captured moments of play and spontaneity. His pictures also showed Godard and cinematographer Raoul Coutard at work, offering future film historians a rich trove of behind-the-scenes images. “In assembling his movie-centered still-photo dossiers, he created perhaps the greatest and most revealing photographic documents ever made of films in progress,” film author Richard Brody wrote in a 2015 New Yorker article. “Cauchetier is the auteur of set photographers.” Mr. Cauchetier photographed Godard pushing Coutard in a wheelchair, enabling the cinematographer to shoot a low-budget tracking shot; another photo showed the director with a canvas-covered trolley cart equipped with a hole for the camera, which Godard used to shoot on the busy Champs-Élysées. In one of his best-known images, he photographed Seberg kissing Belmondo on the cheek, while the actor gripped a cigarette and gazed into the distance. Although it was inspired by a sequence in “Breathless,” the image never appeared in the film. “That day, to avoid the crowds, Godard shot from up high on the fifth-floor of a building,” Mr. Cauchetier told The Guardian in 2015. “You could just make out this minuscule couple parting with a chaste kiss in front of a newspaper stand. I went down afterwards and said I wanted to do a close-up of a kiss because it summed up their characters so well. They obliged. It lasted five seconds.”Source: The Washington Post
Thomas Jorion
Thomas Jorion
France
1976
Thomas Jorion (b. 1976, lives in Paris) photographs urban ruins and condemned buildings, spaces that no longer serve the purposes for which they were built. His work explores the built environment in a state of entropy, inviting viewers to reflect on the relationship between the material and the temporal.My work is based on our perception of time, how it passes and especially its lack of linearity. Some places seem frozen as time passes by. While our society is developing and changing very rapidly, these places are submitted to a distorted passing of time. They seem to be lifeless or in a waking state, although in reality they have their own link with time. I travel the world with one idea in mind, to find and show timeless islands. I choose to enter closed and abandoned places formerly alive, and often places of leisure or prestige to capture and share them. My fascination for the esthetic of abandoned places is the extension of an older tradition. The Romantics enjoyed strolling amidst the ruins of long lost civilizations. Centuries earlier, painters such as François de Nomé (1592 – 1623), Giovanni Battista Piranesi (1720-1778) and Hubert Robert (1733 – 1808) dedicated part of their work to these forgotten places. Somehow my photos are part of this process. The existence of timeless islands stems from a variety of contemporary phenomena. Though each of these islands has a particular origin depending on its location, all eventually evoke the disappearance of men. In Japan, the line between leisure and consumption is often blurry. Leisure activities that are deemed old-fashioned are disposed of – similar to those handkerchiefs, the “nuigishi,” given out for free on the streets by pretty young ladies. An example of this occurence (occurrence – deux R) is the three-storied, 108-lane bowling alley in a Tokyo suburb. Being out of use for some time, it soon is to be demolished. The expansion of new forms of leisure activities has also led to a booming hotel industry. Better and cheaper flight connections and the growing mobility of global citizens made the world a village, with every destination easy to reach. The province of Izu, which used to be a popular summer destination for the Japanese, is now competing with international destinations as in China or Korea. Hotel complexes or amusement parks now open for business or shut their gates according to short-lived trends in the tourism industry. In America the consequences of the economic crisis have been more disastrous than anyone could hardly have imagined. In the vast landscape of the United States, the possibility to build on new land is considered limitless. The habit of constructing new buildings instead of renovating old ones has proven rather catastrophic for the country. The dramatic consequences can be seen in cities such as Detroit MI, where the “white flag” phenomenon has made matters even worse. Other cities, such as Memphis, TN, or Bridgeport, CT have followed suit. Those cities’ entire cultural and social identities have decayed into ruin. The first places to have become useless for society were theaters, movie theaters, sport centers, schools and churches. Health care institutions, public housing, and judicial systems suffered, too… The failure of American Utopias, photographed by Joel Sternfeld in the late 70s, was already heralding deeper phenomena observed today. On the old continent, the reasons are multiple and the consequences are often the same. Struck by a major structural transformation from industrial to post-modern societies many countries had to turn away from their heavy industry. Gigantic textile factories in Northern Italy have completely disappeared, even sumptuous villas of industrialists were forsaken and left to decay. Twenty years after the reunification this development can also be seen in Germany, where factories became completely unsuitable for the global economy and whole regions became deserted due to migration. There is no denying that these abandoned places now cover all continents and in the name of the profit motive tends to amplify this phenomenon. As for my photographic practice, I wish to conserve the rawness of the places that I observe. This represents a challenge. The frame must be arranged in accordance with the layout of the space and the available light. For me, this reinforces the immaculate and timeless aspect of the place. My use of a large format camera allows me to make sharp and detailed images that contain a variety of focal points, textures, and depths. Capturing the richness of such pictures takes much time, which in turn reduces the number of photographs I can take. The choice of color film is important because it anchors the place within the present moment and allows for a faithful rendering of things seen. This eliminates the austere quality of certain spaces. For example, in the Piedmont theater, the blue, yellow, and brown are muted and soft colors, but they correspond well together to reveal a new beauty. Source: www.thomasjorion.com
Josephine Sacabo
Josephine Sacabo
United States
1944
Artist Statement: "I believe in Art as a means of transcendence and connection. My images are simply what I’ve made from what I have been given. I hope they have done justice to their sources and that they will, for a moment, ‘stay the shadows of contentment too short lived.’” Sacabo divides her time between New Orleans and Mexico. Both places inform her work, resulting in imagery that is as dreamlike, surreal, and romantic as the places that she calls home. Born in Laredo, Texas, in 1944, she was educated at Bard College in New York. Prior to coming to New Orleans, Sacabo lived and worked extensively in France and England. Her earlier work was in the photo-journalistic tradition and influenced by Robert Frank, Josef Koudelka, and Henri Cartier-Bresson. She now works in a very subjective, introspective style, using poetry as the genesis for her work. Her many portfolios are visual manifestations of the written word, and she lists poets as her most important influences, including Rilke, Baudelaire, Pedro Salinas, Vincente Huiobro, and Juan Rulfo, Mallarmé, and Sor Juana Ines de la Cruz. Her images transfer the viewer into a world of constructed beauty. During her 36 year career her work has been featured in over 40 gallery and museum exhibitions in the U.S., Europe and Mexico. She has been the recipient of multiple awards and is included in the permanent collections of the George Eastman House, the International Center of Photography, the Metropolitan Museum of Art and la Bibliothèque Nationale, Paris, France. Source: josephinesacabo.com
Maren Elize Klemp
Maren Elize Klemp
Norway
"I grew up in a small town outside of Oslo, and started photography when I was a teenager. My father bought me my first camera when I was seventeen, and I immediately knew that I wanted to become a photographer. Writing was one of my passions in this period of my life, but I also was searching for a way to express myself visually. I had no talent for either painting and drawing, so photography naturally became the right medium for me. Unfortunately I dropped out of high school, but was lucky enough to be offered an internship as a photographer in the local newspaper. I learned a lot during this period, but I quickly discovered that I was most drawn to the field of fine art photography rather than photo journalism. After about six moths in the newspaper I started to study fine art photography under professor Robert Meyer at Robert Meyer Kunsthøgskole in Oslo, and I have been a fine art photographer ever since. In 2014 I traveled to Charleston, South Carolina to work on my first book together with photographer and professor, Jose' Escobar. He discovered my work on Flickr, and asked if I wanted to collaborate on a book project. The book is called 'Between Intervals' and is a visual representation of conditions people suffering from mental illness can experience. My work has also been shown both in solo and group exhibitions in Oslo, Norway."
Vee Speers
Vee Speers
Australia
or over two decades, Australian Paris-based artist Vee Speers has established herself in the art world with her unforgettable portraits. Her carefully choreographed images are painterly and ethereal, with a visual and metaphorical ambiguity which challenges established narratives. In her iconic series The Birthday Party, she eternalises the innocence of childhood with timeless portraits that are at once hauntingly beautiful and provocative. She dresses, styles and sometimes masks her characters, creating enigmatic stories to blur the line between reality and fiction and highlighting our need to escape into fantasy. Speers succeeds in choreographing characters that offer allegorical glimpses into life, triggering memories and emotions from our own childhood. From the legend of the Phoenix, Speers draws inspiration for her most recent work Phoenix, an evocative story about passion, love and loss and an homage to the anonymous women. In this series Phoenix, the battles are over and the flames and ashes disappear. Emerging is the emboldening force of liberation as these women of all ages are on the threshold of new beginnings. At once powerful and vulnerable, Speers' portraits are timeless symbols of transformation between life and loss and the renaissance of a new identity. Speers' work has been exhibited in museums, galleries, art fairs and festivals around the world, and published in features and on covers of more than 60 international magazines, with 3 sold-out monographs of her work. Her photographs have been acquired by Sir Elton John Collection, Michael Wilson Collection, Hoffman Collection U.S. , Carter Potash Collection, Morten Viskum Collection, Alan Siegel, Lawrence Schiller, DZ Bank, Museum of Fine Arts Houston, Museum 21C, Kentucky, George Eastman House, Beth Rudin Dewoody, Hudson Bay Company Art Fund, CB Collection, Tokyo. More about Vee Speers: AAP: When did you realize you wanted to be a photographer? Vee Speers: I’ve always thought photography was magical as my father had his own darkroom. When I went to art school, I realized that the instant way of capturing an image suited my impatient personality. Where did you study photography?QCA, Brisbane, Australia Do you have a mentor or role model?Not really. I don’t like to follow. What or who inspires you?The cinema is a constant source of inspiration. A story is told, and the way it is filmed can transport you to another time or place. Still images can be the same. How could you describe your style?Playful, beautiful, strange, melancholic, obvious and unexpected. Do you have a favorite photograph or series?The Birthday Party and Bulletproof This is two series photographed 6 years apart using the same children. What kind of gear do you use?Polaroid film and medium format cameras. Do you spend a lot of time editing your images? For what purpose?No, I know right away when I’ve taken a good shot. Or if I haven’t. What advice would you give a young photographer?Know what you want and don’t be distracted from your goal. Don’t listen to what anybody else says. What mistake should a young photographer avoid?Accepting to shoot anything that will compromise his or her personal journey. An idea, a sentence, a project you would like to share?Don’t be afraid.What are your projects?Portraits, portraits and more portraits. Your best memory as a photographer?There are so many. Every time I take a great image, I feel so excited, like everything has lined up perfectly. These are the best memories. The compliment that touched you most?A woman once told me that my work had changed her life. If you were someone else who would it be?Diane Arbus, with all those wonderful and strange people to photograph. Your favorite photo book?Lord of the Flies by William Golding.
Takuma Nakahira
Takuma Nakahira
Japan
1938 | † 2015
Takuma Nakahira was a Japanese photographer, critic, and theorist. He was a member of the seminal photography collective Provoke, played a central role in developing the theorization of landscape discourse, and was one of the most prominent voices in 1970s Japanese photography. Born in Tokyo, Nakahira attended the Tokyo University of Foreign Studies, from which he graduated in 1963 with a degree in Spanish. After graduation, he began working as an editor at the art magazine Contemporary View (Gendai no me), during which time he published his work under the pseudonym of Akira Yuzuki. Two years later, he left the magazine in order to help organize the major 1968 exhibition One Hundred Years of Photography: The History of Japanese Photographic Expression at the invitation of Shōmei Tōmatsu, an effort to which photo critic Kōji Taki also contributed. In 1968, he and Taki teamed up with photographer Yutaka Takanashi, and critic Takahiko Okada, to found the magazine Provoke: Provocative documents for the sake of thought. By the second issue, Daidō Moriyama had joined the group, but Provoke ceased publication with its third issue, First discard the world of pseudo certainty: the thinking behind photography and language, in March 1970. Nakahira and the other Provoke members were well known for what was termed their "are, bure, boke" (rough, blurry, and out of focus) style, associated with spontaneity and thus supposedly a more direct confrontation with reality in that it would circumvent conscious control. While working on Provoke, Nakahira published his first photobook, For a Language to Come, which has been described as "a masterpiece of reductionism." Ryūichi Kaneko and Ivan Vartanian feature the book prominently in their book on seminal Japanese photobooks of the 1960s and 70s, and Martin Parr and Gerry Badger include it in the first volume of their international photobook history. Vartanian describes the volume as exemplary of Provoke's vision and concept of photography in Nakahira's use of the are, bure, boke style, but also for presenting full-bleed snapshots of anonymous corners of Tokyo that either cross over or abut each other at the book's gutter. Vartanian argues that "By erasing the conventional functionality of the photograph as document, memory, verification, emotion, and narrative, he revealed the illusory nature of photography as a conduit of information or portrayal of reality, while at the same time underscoring the only tangible reality available to the viewer—the printed image," eschewing documentation of social issues to instead present a personal, diaristic perspective. In 1977, at the age of 39, Nakahira suffered alcohol poisoning and fell into a coma. As a result of this trauma, he suffered permanent memory loss and aphasia, effectively ending his prolific writings. This event has also conventionally been understood as marking a change in his photographic practice since, after a hiatus from his image-making activities, he returned to the medium in a style quite distinct from that for which he was known. Curator and photo critic Kuraishi Shino and Masuda, however, argue that in spite of any stylistic differences with his earlier work, Nakahira's post-1977 practice should be understood as a conceptual continuation of the project he embarked on in 1973 with Why an Illustrated Botanical Dictionary. Nakahira's post-1977 photographs were collected in three photobooks: A New Gaze (1983), Adieu à X (1989), and Hysteric Six Nakahira Takuma (2002). While Nakahira was always an important figure within Japanese photographic circles, the upsurge in research and exhibitions on post-WWII Japanese photography since the 2000s has led to a reevaluation of Nakahira's contributions to Japanese photographic, media, and art discourses in recent years, especially outside of Japan. His work has been included in recent seminal exhibitions of Japanese post-WWII art including the Getty Research Institute's Art, Anti-Art, Non-Art: Experimentation in the Public Sphere in Postwar Japan, 1950-1970 (2007), the Museum of Modern Art's Tokyo: 1955-1970 (2012), the Museum of Fine Arts Houston's For a New World to Come: Experiments in Japanese Art and Photography 1968–1979 (2015), National Museum of Modern Art, Tokyo's Things: Rethinking Japanese Photography and Art in the 1970s (2015), and the Art Institute of Chicago's Provoke: Photography in Japan between Protest and Performance, 1960-1975 (2017).Source: Wikipedia
Anna Försterling
Anna Försterling
Germany
1995
Anna Försterling is a German photographer specializing in artistic nude and portrait photography. She was born in 1995 and grew up in Saxony, near Dresden. She successfully completed her training as a photographer from 2014 to 2017 and has been working as an independent photographer in Freiberg (Saxony) since January 2021. Her work is all about minimalism and body shapes. Skin plays an important role for her, as skin is one of the most important and exciting means of expression of character and soul. She also wants to show emotion and soul in her portraits and usually reduces to a presentation in black and white. Anna photographs her work exclusively analog and mostly on black and white film and develops her films herself.
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Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
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