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Aurore Valade
Aurore Valade
Aurore Valade

Aurore Valade

Country: France
Birth: 1981

Aurore Valade is a French photographer born in 1981. She creates images that play with the iconic register of scenography. In these elaborate stagings, we are often confronted with clichés, meaningful reflections of a social, economic, or cultural situation in contemporary life.


In 2008, she won the HSBC Prize for Photography for a series in which she photographs people who perform their own roles, in their interiors. From there, his work evolved into a political approach to the image. In 2015, she was an artist member of the Casa de Velázquez (Académie de France in Madrid), where she initiated research on indignation which gave rise to the Digo yo and Se manifester series, for which she obtained the Photo Folio Prize. Review of the Rencontres d'Arles1 Festival in 2017. Very elaborate, the staging of his photographs can be considered as "significant reflections of a social, economic or cultural situation of our time but also certain values ​​which question the limits of privacy."

Source: Wikipedia

It has been said that intimacy is connected to the art of talking about life. That art is precisely what Aurore Valade’s project summons. Her starting point is the art of conversation: con-verse means to go with another, to walk along the same road together, and that is what gives rise to the collaboration between the artist and those she photographs. Aurore Valade explores an “intimacy liberated” by the desire to share the voice and listen to other voices of those who recognize that every life is exceptional, for, each time, that life is always the only one that can be lived.

Each of these photographs shows a shared space that concentrates and exudes that irreducible, excessive vitality. That is why Aurore Valade wanted to explore the specific space in which there is a constant tension between the intimate and the political, where its liberation is always transgressive and inhabits the very heart of revolt.

Source: Arles - Les Rencontres de la Photographie

 

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More Great Photographers To Discover

Don Jacobson
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The world of photography and the world of the natural wonders of the Sierra Nevada opened to Don Jacobson simultaneously. The photographs he took with his little Kodak Brownie were woefully inadequate to express the grandeur of the Range of Light. Within a week of his first backpack trip into the high country, he bought his first SLR, a Pentax Spotmatic and began to take photography classes. His degree is in electrical engineering and he worked in that field for three years. Working for the defense industry became more of a contradiction with his political views initiating a search for a desperately needed a creative outlet. For the next twenty-eight years he worked as a glassblower. His work was shown in galleries across the United States, and the Corning Museum included a piece of his in their 1986 collection of 200 international glassblowers. Although glassblowing was his "day job*," he continued to practice the art of photography, studying photography with Edmund Teske at UCLA for a year. The two different mediums, are connected by light. The magic of glass is in its ability to transmit and reflect light while photography is the capturing of light. During the years he lived in the San Francisco Bay Area, 1973 through 1976, he amassed 135 images of owner decorated vehicles. He is currently a member of the Portland Photographers Forum and the Interim Group, a critique group originally formed by the influential photographer Minor White. Statement I see the world differently now. The camera, which narrows the field of vision, has actually expanded my vision. When I realized I was viewing reality as if it were a series of photographs, I initially questioned that perspective. Now, I know my perception is enhanced and enriched from my pursuit of photography. An already dynamic and interesting world has become more so. I am delighted by quality of light, vibrancy of color, unexpected and often unnoticed detail. The stunning structure of an orchid, the intricate ornamentation on an older building, or dishes stacked in a dish drainer are fascinating to me. Abstractions and patterns are richer and invite investigation. My subject matter is limitless. Anything that appeals to my eye is fair game for my camera.
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United States
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Hannah Villiger
Switzerland
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1945
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