Some of my photographic works are intended for framing in old frames. I like to associate the timeless value of my works with a time in history that the frame evokes.
For exemple, this photograph was taken in the Cathedral of the Good Shepherd in San Sebastian, in Spain. When I take photographs in spiritual places, I often see angels or mythical creatures appear in my images. The long exposure times allow the invisible to record on the films in my cameras. For example, in this photograph, a Phoenix is flying. The Phoenix is a bird from Greek mythology that by its power is reborn from its ashes after being consumed in the flames. It symbolizes the cycles that punctuate life, death and resurrection. It is also called the firebird.
Title: [0x18CBA3] Metamorphoses, 2012 Printing: Limited Edition #1 of 3 (+ 1 AP) Paper: Hahnemühle Glossy Fine Art Baryta Satin 300g Size of the printed image: 9x14cm Frame: Napoleon 3 (19th century) picture frame with beveled glass with a nice decoration of a golden ribbon (9x16cm x2cm 264g) In this photo, a Phoenix flies ♪ (‘θ ｀) ノ ☆☆ 〜
This is a French antique gallery and shop on the Etsy site which offers a selection of my photographic works presented in very beautiful old frames. Etsy guarantees the transaction and the quality of the shops it hosts and from which it also draws its reputation as the world’s leading merchant site for small designers and artisans.
I am very happy to know that my photographic story 「地電流」has been featured on CORRIDOR ÉLÉPHANT photography exhibitions!
地電流, in Japanese, means telluric current.
This photographic work highlights the perceived feeling, when one lives in Japan, of these enigmatic forces which make the identity of Japanese culture. I relate this dull telluric energy to images that respond to some of these vibrations as if it were, in a way, a topological ultrasound.
The Salon of Abstraction has been held every year since 1946 in Paris. Its objective is to promote works of art “commonly called concrete art, non-figurative art or abstract art”. The Salon was founded in 1946 by the artists Sonia Delaunay, Auguste Herbin, Jean Arp, Jean Gorin, Pevsner… as a continuation of the “Abstraction-Création” association (1931). The expression “Réalités Nouvelles” was born from the pen of the poet Guillaume Apollinaire in 1912 to designate abstraction as the form that best expresses Modern Reality.
9 artists are exhibited Adèle Bessy / Adrien Conrad / Brno Del Zou / Eric Petr / Gregory Dreyfus / Juliette Frescaline / Marie-Christine Palombit / Suzanne Larrieu / Yohan Blanco
Mémoire de l’Avenir invites, for two consecutive exhibitions, the international artistic collective of DF Art Project, which brings together artists sharing a common plastic research, around the fragmentation of reality, its perspective, its distortion and/or its dynamic transformation. The artists of the collective question the subject as much as the medium, through plastic, photographic, sculptural, performative, or video projects. Text: Mémoir de l’Avenir
My exhibited photographs are from my theme “Métamorphoses”.
Métamorphoses are bodies in expansion like floating ethers, which take shape in complex and unstructured volumes that the image restores to the gaze as a possible reality. Bodies which belong neither to time, nor to space, nor to our world but which are only aggregates of matter, waves and elementary particles in perpetual motion, to freeze at a moment T on my negative or my sensor. Métamorphoses would be a photograph of the expansion of the universe, at a precise point in its trajectory, where spectra would take on random and recognizable forms containing the mnemic of the cosmos. My photographic writing is direct; it is born from the encounter of a moment fixed on the thread of timelessness between man and the universe.
La Cité Radieuse | Marseille Vernissage, Monday June 14 at 5 p.m.
“I wanted to talk about my city; Marseille, a city unloved and yet so beautiful, split by its stigmata, its urban wounds, which only offers its divine protection from the Bonne Mère to those who marvel at it.”
The title “Nuit Radieuse” means “Radiant Night” and rhymes with the name of the place “La Cité Radieuse” given by the architect Le Corbusier and which means “The Radiant City”.
“Radiant night” is a photographic story realized in December 2020 for the second confinement by Éric Petr during a short stay in a room located on the 8th floor of the La Cité Radieuse’s hôtel.
About this photographic work
Le Corbusier’s “La Cité Radieuse” is not only a masterpiece of contemporary architecture but also one of the strong emblems of the Phocaean City and it is from this Unité d’Habitation which dominates the city that I had the desire to photograph the soul of my city, Marseille. From this urban portrait emerges a photographic story made up of 32 photographs.
I invite you to read the very beautiful text published in the contemporary art magazine Canoline Critiks which admirably sheds light on this work which is based on the idea that cities are only energy and that they vibrate with waves that cross them.
In my images, the visual material is redefined, the objects are broken down to be reassembled according to volumes and complex plans, giving a new conception of our vision of the world.
Pablo Picasso changed through his expressive gaze, the perception of objects and the space that surrounds us to surprise and question the viewer.
In my own way, I recompose our perception of the world by retranscribing the information felt in a language made of visual material.
The vibrations or impressions that I feel in certain sublime places are captured by the prism (or pentaprism) of my camera to take shape in the field of our visual perception, just like light waves (this matter forms elementary particles ) which pass through the pinhole of a black box to take shape for our eyes by their simple diffraction.
In a way, it is a question of suggesting to the reader to feel what is, more than to see what was.
A priori, the reading does not seem direct but as one discovers my images, one gradually finds the keys necessary for their readability and understanding.
In a time when we need to understand everything immediately, where time gives rhythm and orders our emotions, the timelessness of my photographs urges the observer to stop, to suspend his time, to disregard his daily life to penetrate the multiple strata of my images and free his subconscious.
from January 2 to January 20, 2018 Opening on Saturday, January 6, 2018 at 7 pm
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.
IN THE MANNER OF… ?
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.
THE AUTHOR’S WORD
“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.
#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.
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.