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Marie-Laure Vareilles
Marie-Laure Vareilles
Marie-Laure Vareilles

Marie-Laure Vareilles

Country: France
Birth: 1966

- Testify to the variety of cultures on our planet.
Education: Interior architect. I travelled on all continents, camera in hand, to testify of the diversity of countries on our planet. Over the years I have experienced different cultures, landscapes, encounters … The cultures of the entire world are in constant evolution. My work is to serve the memory of the people and their countries all around the world.

- Creation of photo montage : imagine a universe of possibilities, elaborate the encounter of the unlikely. Mixing elements, transforming scale relations, rejecting logical constructions... Today I give a new life to the thousands of negatives taken, recreating imaginary worlds where poetry, dreams and surrealism alternate.

- Permanent exhibition : Marseille : galerie Massalia; Vaison la Romaine, in the old town : atelier ANSATU & MAILO


All about Marie Laure Vareilles:

AAP: When did you realize you wanted to be a photographer?
It was not my dream.

AAP:Do you have a mentor?
I remember about the first exhibition I have visited : it was Salgado with beautiful works in black and white. The subject he had worked on was men working by hand, all over the world... Beautiful.

AAP: How long have you been a photographer?
I took my first photo in 1985, while traveling in Turquey. It was my first trip alone abroad and I wanted to share my impresion with my family. Taking photos seemed to be the best medium for sharing places I had visited, people I had met.

AAP: What or who inspires you?
Since I am travelling and taking photos, I have realised how fast our world is changing. Faster and faster. Shooting is a way to keep testimony from a time which doesn’t exist any more : the more I travel, the more I realise that our differences are less and less visible.

AAP: How could you describe your style?
I shoot what I see, very quickly. But as soon as light is changing I shoot again ! Landscape, architecture, sky, people... many subjects can be interesting for the montages I create when I come back in my studio.

AAP: What kind of gear do you use? Camera, lens, digital, film?
Since the begining, I am working with Nikon cameras. During the last few years, I have definitly adopted digital camera. My last one is the D-800.

AAP: Do you spend a lot of time editing your images?
Not enough : after shooting, I spend a lot of time creating montages. For this reason I keep each photo, just in case ! But it might be a problem in the futur with hardware !

AAP: Favorite(s) photographer(s)?
They are so many. Editing a list would be a nightmare. Especially if I forgot to mention some of them.

AAP: Your best memory has a photographer?
I will never forget my experience in Bangladesh. I had never seen so many people working by hand, what ever they do, transport, create, make… they do not use use any machine. They work hard in bad conditions but they keep smiling!

AAP: Your worst souvenir has a photographer?
I had a bad time in Guinea. Working for an editor who wanted me to take photos from the Niger river and the every day life. The problem is I had to deal with blackmail from the people who were supposed to help me.

Website

www.artphotomailo.com

 

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Massimo Vitali
Massimo Vitali
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Massimo Vitali was born in Como, Italy, in 1944. He moved to London after high-school, where he studied Photography at the London College of Printing. In the early Sixties he started working as a photojournalist, collaborating with many magazines and agencies in Italy and Europe. It was during this time that he met Simon Guttman, the founder of the agency Report, who was to become fundamental in Massimo's growth as a "Concerned Photographer." At the beginning of the Eighties, a growing mistrust in the belief that photography had an absolute capacity to reproduce the subtleties of reality led to a change in his career path. He began working as a cinematographer for television and cinema. However, his relationship with the still camera never ceased, and he eventually turned his attention back to "photography as a means for artistic research." His series of Italian beach panoramas, starting in 1995, began in the light of drastic political changes in Italy. Massimo started to observe his fellow countrymen very carefully. He depicted a "sanitized, complacent view of Italian normalities," at the same time revealing "the inner conditions and disturbances of normality: its cosmetic fakery, sexual innuendo, commodified leisure, deluded sense of affluence, and rigid conformism." (October Magazine 2006, no. 117, p. 90, How to Make Analogies in a Digital Age by Whitney Davis) Over the past 22 years he has developed a new approach to portraying the world, illuminating the apotheosis of the Herd, expressing and commenting through one of the most intriguing, palpable forms of contemporary art - Photography. He lives and works in Lucca, Italy, and in Berlin, Germany sometimes. Vitali’s work has been collected in four books: Natural Habitats, Landscapes With Figures, Beach and Disco, and Entering a New World. His photographs have been published in magazines, newspapers, and other periodicals around the world. Additionally, his work is represented in the world’s major museums, including the Centro de Arte Reina Sofia in Madrid, the Guggenheim Museum in New York, the Museum of Contemporary Art in Denver, the Fond National Art Contemporain in Paris, the Musée National d’Art Moderne in Paris, the Fondation Cartier in Paris, and the Museo Luigi Pecci in Prato.
Pierre De Vallombreuse
Pierre De Vallombreuse
France
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Pierre de Vallombreuse was born in Bayonne in 1962. In twenty-five years of travel to all continents, he made a photographic collection of 41 indigenous peoples, with more than 130,000 photographs, paying tribute to their diversity.In contact with Joseph Kessel, a French author and traveler, de Vallombreuse felt a very early desire to be a witness of his time. In 1984, he entered the École Nationale Supérieure des Arts Décoratifs in Paris with the idea of becoming a cartoonist. A trip to Borneo the next year, though, changed the course of his life. He shared his daily life with the Punans, the last nomads of the jungle. Normally a sedentary artist, de Vallombreuse decided to become a nomadic witness, and photography became his mode of expression. While still a student at the Arts Décoratifs in Paris, he took multiple trips to the Philippine jungle to stay with the Palawan people. In total, he lived with them for over two years. The first part of his work on this tribe was presented at the photographic festival Les Rencontres internationales de la photographie in Arles.De Vallombreuse was Secretary General of the Association of Anthropology and Photography (association Anthropologie et Photographie, Paris Diderot University). Since then, he has regularly collaborated with leading international magazines: GEO (France, Russia, Germany, Spain, South Korea, Japan), Sciences et Avenir, Le Monde 2, Le Figaro Magazine, Newsweek, El Mundo, El País, and La Stampa.About The Origins of Man (Hommes Racines)Encompassing five years of work, this project represents the commitment of a photographer with eleven indigenous peoples spread across the globe. Its main purpose is to show the intimate relationship between man and his environment. De Vallombreuse presented his work as a testament to the diversity of lifestyles, practices, and traditional knowledge that are embedded in very different environments. These cultures are repositories of knowledge essential to the preservation of biodiversity. De Vallombreuse aimed to promote a reflection on humanity sustainable whose corollary is the protection of nature.Whenever linked to a specific people, the project emphasizes the multiplicity of responses to living conditions imposed by nature and history. It is in this context that de Vallombreuse addresses this root concept. By meeting people entrenched in their territory and those who have been subjected to the test of uprooting, de Vallombreuse analyzed changes in life affecting our modernity. He worked to show how indigenous peoples are often the first victims of environmental disasters: food shortages, deforestation, global warming, pollution, and water war, crucial questions that, far from being local concerns, affect our mutual humanity.Since 2007, this project has resulted in 12 exhibitions and numerous publications.Souce WikipediaAbout SouverainesIn the West, feminists fight for equality with men. But elsewhere? In some traditional societies, women have a predominant social and spiritual part to play. There is equality, mutual respect and freedom for both genders. Amongst these people, women are recognized for their uniqueness and their skills.Pierre de Vallombreuse traveled to four South East Asian cultures where women play a crucial part in the family and in governance itself.In the matrilineal and matrilocal tribe of Khasi in the North-East part of India, children are given at birth the name of their mother and the youngest daughter inherits all the land and family properties.In the nonhierarchical tribe Palawan in the Philippines, men and women live in perfect equality, while emphasizing values such as goodwill, generosity and mutual assistance.In the southwestern part of China, status of women is unique in Moso, a population that practices all forms of matriarchy as children's education is entrusted with their maternal uncles.Finally in Malaysia, the Badjao abolish all forms of hierarchy and advocate for an egalitarian and libertarian civilization that is prominently in favor of women.
Grace Weston
Grace Weston
United States
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Aurelien Morissard
France
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Brazil/Ireland
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Seydou Keïta
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Mali
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The great African portraitist Seydou Keïta lived in Bamako, Mali from 1921 to 2001. A self-taught photographer, he opened a studio in 1948 and specialized in portraiture. Seydou Keïta soon photographed all of Bamako and his portraits gained a reputation for excellence throughout West Africa. His numerous clients were drawn by the quality of his photos and his great sense of aesthetics. Many were young men, dressed in European style clothing. Some customers brought in items they wanted to be photographed with but Keïta also had a choice of European clothing and accessories - watches, pens, radios, scooter, etc. - which he put at their disposal in his studio. The women came in flowing robes often covering their legs and their throats, only beginning to wear Western outfits in the late 60s. Seydou Keïta worked primarily with daylight and for economic reasons took only a single shot for each picture. Seydou Keïta was discovered in the West in the 1990s. His first solo exhibition took place in 1994 in Paris at the Fondation Cartier. This was followed by many others in various museums, galleries and foundations worldwide. He is now universally recognized as the father of African photography and considered one of the greatest photographers of the 20th century. "It’s easy to take a photo, but what really made a difference was that I always knew how to find the right position, and I never was wrong. Their head slightly turned, a serious face, the position of the hands... I was capable of making someone look really good. The "photos were always very good. That’s why I always say that it’s a real art." Seydou Keïta, Bamako, 1995/1996 © André Magnin From en.wikipedia.orgSeydou Keïta was born in 1921 in Bamako, although the exact date is unknown. He was the oldest in a family of five children. His father Bâ Tièkòró and his uncle Tièmòkò were furniture makers. Keïta developed an interest in photography when his uncle gave him a Kodak Brownie with a film with eight shots in 1935, after returning from a trip to Senegal. In the beginning Keïta worked as both a carpenter and photographer, taking first portraits of his family and friends, later of people in the neighborhood. He learned photography and how to develop from Pierre Garnier, a French photographic supply store owner, and from Mountaga Traoré, his mentor. In 1948 he set up his first studio in the family house in Bamako-Koura behind the main prison.From www.gallery51.comConsidered to be one the important precursors of African photography, Seydou Keïta was born in Bamako (Mali) in 1920. Like many of his contemporaries, nothing particularly predestined him to become a photographer. His uncles bring back a camera from a trip to Senegal, and the young Seydou is fascinated. He starts photographing his relatives and discovers a deep passion for this art. Although he makes furniture for a living, he spends much time with Pierre Garnier who has his own studio. There, Seydou Keïta learns the secrets of the trade and soon realises that there was an enormous demand for individual pictures. This drives him to open his own studio in 1948. Up until then, whites had had a lot of trouble convincing local population to have their pictures taken, because they were so afraid to lose their identity. With Keïta it's different: he is one of them and permits them to choose their own picture that will be left for the close family. From then on, we see the opposite effect: people queue up to have their pictures taken. This is to become the great specialty of the malinese artist. Slowly he develops his own style, in which one finds accents of Mountaga Kouyaté's work, an intellectual that fought a bitter personal battle for the independence of Soedan. To look their best, that is the sole desire of people in front of Keïta's lens. Keïta even gives them costumes, accessories and furniture to further enhance their appearance.Men, women and children, all look perfectly elegant. If we look beyond the aesthetics of the black-and-white pictures, Seydou shows us a portrait of Malinese society in full transition. Finally Seydou is to become the country's official photographer, and will stop working in 1977. Nevertheless, it will be many years before his work is noted at the famous "Festival of African Photography". Source: www.seydoukeitaphotographer.com
Igor Gladkov
Igor Gladkov
Russia
1985
Igor graduated from the Yekaterinburg State Theatre Institute in 2014. He produces video art, documentaries, and street photography. In 2020 and 2022, Igor won Goethe-Institut grants for documentary projects. From 2021 to 2022, he studied at the Mikhalkov Academy of Cinematographic and Theatre Arts. Igor Gladkov lives and works in Los Angeles. AAP Magazine: AAP Magazine 52 Street
Elizabeth Bourne
Elizabeth Bourne
United States
1964
I describe myself as an artist using a camera rather than as a photographer since I am more concerned with creating an emotional connection with the viewer rather than technical perfection. After living most of my life in the Pacific Northwest, I went to Greenland in 2017 and everything changed. I fell in love with the high arctic. In 2018 I had artist residencies in both Svalbard and Iceland. In 2019, at a time when most people my age are thinking about retirement and grandchildren, I packed seven suitcases, and moved to Longyearbyen. Now I live in the world's northernmost town on the archipelago of Svalbard. I work almost exclusively in the arctic. My work, both painting and photography, have been exhibited nationally and internationally. In 2019 I was honored to receive the Vision Excellence Award from the Miami Photography Center during Art Basel Miami for best work in a series. Svalbard: Land without Borders which is an ongoing project. My work has been collected by Adobe, Corel Draw, and the City of Seattle. About the work: In the arctic, glaciers ten thousand years old rise in shimmering cliffs of light. These ice rivers calve towering icebergs with life spans of only two years. The paleocrystic beauty of the high arctic is as rich as any Tahitian sunset. There is a struggle between those who would exploit the arctic, and those who would preserve it. I have chosen to document these changes in Svalbard, the last land without borders on our planet. My goal is to engage a heart-felt reaction in the viewer. I believe the artist must have a passion for her subject, and a core need to communicate that passion. My hope is that my work will show the arctic's beauty so that people will choose to preserve it. We need the ice. Not just for environmental reasons, but also to maintain the last truly wild, untouched place on our crowded planet.
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