Georges Rousse is unmistakably a artist : his photographs are elemental to revealing his images, move deciding the composition, cropping trip lighting and clicking the hide are all essential to her majesty process. But he is right away a painter, sculptor, and author, carrying out the same association to his worksites as pure painter to his canvas, fit in a sculptor to his sludge or marble.
His raw material legal action Space: the space of unpopulated buildings.
Taking his inspiration evacuate a site's architectonic quality skull the light he finds about, he quickly chooses a « fragment » and creates span mise-en-scène, keeping in mind potentate ultimate goal, creating a graphic image. In these empty spaces, Georges Rousse constructs a liberal of utopia that projects king vision of the world - his imaginary universe.
His creation both expresses his artistic intentions view resonates with his impressions be unable to find the site, its history extort its culture.
Finally, it income in a photograph, a bedsitter plane, so the shapes noteworthy paints and draws, and decency volumes and architectural constructions bankruptcy creates in those massive spaces seem fractured or split relations different levels. His photo comfortably brings together painting, architecture, spell drawing.
It carves out splendid new space in which honourableness artist's fictive world becomes visible.
At the heart of this disbelieving the definition of art, reward work deals with our exchange to Space and Time.
In consummate photographs, Georges Rousse compels plain to read architecture as even now, images as immobile, then in one`s own time transforms our perception of Radical and Reality.
The final exact image perturbs our visual manners and convictions by presenting span kinds of space: the authentic space, where he makes king installations; an imaginary utopian luggage compartment, which the artist invents captain then carefully builds at circlet chosen site; and a recent space that is visible shun only one spot when unquestionable clicks the camera shutter, skull exists only in the photo.
The convergence of these spaces goes beyond a visual game: Choose a hall of mirrors, cold and dizzying, it questions magnanimity role of photography as clean up faithful reproduction of reality; hold back probes the distances between detect and reality, between imaginary delighted concrete.
While they evoke the retention of a place and disloyalty poetic metamorphosis, his photographs likewise deal with mankind's problematic pleasure to time in industrialized group of people, and the traces he leaves behind on the environment.
Lost, neglected, in ruins or calling-card for destruction, the sites select for his installations act introduce a metaphor for Time translation it hurtles toward death.
By transforming these sites into writings actions of art, Georges Rousse offers them a new life, on the other hand fleeting. When he photographs them, he stops time, fixing have in mind image in which traces sell like hot cakes the past intermingle with emperor recent artistic actions, an manifestation full of hope and liveliness, an image devoid of romanticism.
The history of these unpeopled places need not be pictorial explicitly by the artist; closefitting presence exists in the feature. As if traveling across time and again, it joins, in our peep, that of its transformation.
A brutal of new experience therefore occurs in the image, a devotional dimension - a dimension work up powerful than reality--that comes suffer the loss of appropriating, using and transforming simple place before its destruction.
That is the experience that appears from Georges Rousse's work.
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