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Éric PETR [ amour … ]
abandonment, movement, opening, universe, rebirth
“L’a.m.o.u.r is a wave that crosses the galaxies and irradiates our subconscious. With this series, I wanted to go to the heart of this vibration to capture this tremendous energy »
36 digital photographs referencing the 36 visions of John in Revelation were taken from life in manual mode without using autofocus and controlling speed and dwell time. They are edited without retouching and printed by the photographer himself on thick art paper with matte or baryta structures.
From experimentation to contemplation, from blur to sharpness, from glare to darkness, Éric Petr uses the properties of the accident to reveal the range of possibilities. Light and time are the raw material of his work which deals with “it has been”; a suspension of the moment as analyzed by Roland Barthes. A spontaneous belief materially attesting to non-physical phenomena of past time forever gone. This time which questions the inevitable death of everything and its possible ghostly survival in the image.
There is this fascination for the tension between the visible and the invisible, for this attempt to express what we do not see and what is unspeakable. The artist wants to restore the energy felt as a visual material while maintaining the spectral density.
His works play on the appearance of the image with the power to suggest more than to show. Presentiment, clairvoyance, dissolution, interpretation… In this continuum of strata, he does not allow himself to be blinded by the facilities of a contextual art. The positioning of one’s approach in relation to the environment is a conditioning and circumstantial tool. His photographs were taken during the 2017 Christmas procession at the Grotto of Sainte Marie-Madeleine, in the middle of the night, in the Sainte Baume mountain.
“A point of energetic crossings where, for millennia, men have built and practiced very powerful things from a symbolic point of view. The emanations of the embodied place are so many autonomous fragments at multiple speeds. Each shot propels dissimilar elements, doubling the otherness of belonging and questioning the identity, the status of the event and its representation.
Stone statues, walkers, torches… Shapes sculpted in the light are crossed by sparkling and agitated lines. These are phenomena imperceptible to the naked eye, small levitating miracles.
“These waves have frequencies that are beyond our human and terrestrial spectrum. »
Kinetics is not an optical illusion. Éric Petr gives back to see in another space, another time. The viewer is projected into a supernatural, hallucinatory dimension between recognition and sensory disorientation where what he sees and what he knows is called into question.
Everything rests on the investigation and the shooting which settle in the slowness of the observation, of a rest.
“When the shutter is open, I abandon myself to the flow of light that comes to me (…) Photographing is a real meditation for me. »
The experience is based in introspection on intimate faculties of perception. In this deeply buried cavity nothing is lost, everything is in motion and transforms warmly. Despite the freezing temperature (-10°C) during the capture, imperceptible heat emanations became sensitive, inviting the radiant force to wrap itself in a magnetic red.
“This tonality is the evocation of l’amour, this fraternal bond of men and women who come together in a common spiritual impulse. »
Éric Petr opens the imagination by creating a catalyst space for our beliefs. The distance is thinning between the unreal and its representation. The potentialities of convictions and wandering confront each other and remain captured in an ephemeral absolute where the exclusive faith for the tangible lets itself be undermined by the vibratory field of light.
CANOLINE CRITIKS
Emerging talents in contemporary art
https://canolinecritiks.blogspot.fr/
The photographs are for sale.
If you are interested in an order, do not hesitate to contact me for information on conditions and prices.[onglet contact] .
