• Icarus

    The flight of the eye

    Baryte print
    Size 100cm x 100cm

    Dibond bonding 2mm
    Size: 100cm x 100cm

    Magnetic American box frame in solid oak
    Size: 104.5cm x 104.5cm

    Baryte print
    Size 100cm x 100cm

    Dibond bonding 2mm
    Size: 100cm x 100cm

    Magnetic American box frame in solid oak
    Size: 104.5cm x 104.5cm

    For more than 10 years, Gaël Hiétin has recorded portraits of territories during his travels and passages in various cities around the world, like a fragmented cartography of these places. Melbourne, Sydney, Los Angeles, New York …
     
    Using twenty four shots in height of his camera, for twenty four views, captured for three seconds, it recovers what the rotation of the lens has recorded. Twenty four witnesses exploded from a random space time.
     
    Far from the “decisive moment”; align the eye, the camera and the subject in the same line of sight, and far from the control of the point of view, which identifies the photographic gaze, G.H. sets up an objective concept of the capture of space. Thus he tries to evacuate the signature, the identity of the gaze, the psychological load, the affect, as any artist inscribed in his work.
     
    The danger of the camera by the double movement of the rise and fall, solicits the acrobatic virtuosity of the photographer. She participates in the project by physically registering the artist in her work procedure.
    Three seconds between heaven and earth to afford the view of the angel, the one that filmmakers and photographers choose when they frame their subjects with a bird’s eye view, but here before its fall …
     
    Sometimes the artist appears, seized in a waiting posture, when chance has decided to authorize him to sign his work. A wild self-portrait, a fragment of the self in a fragment of the world.
     
    “Icare”: project identification? But maybe more “Sisyphus” by the eternal recommencement of the gesture, as an attempt to refuse this “me” artist photographer …. But finally behind this announced hiding, this constantly renewed attempt of the erasure, it does not affirm, still more, a “me” which it can not escape ….
     
    The photographs are composed in chronological order of shots, edge to edge, restoring a patchy mosaic of the place in an autonomous plastic unit.
    Thus the reading becomes global associating each image in an overall optical vibration. The eye navigates from the part to the whole through an exploded vision of the landscape.
    Each photograph makes sense by referring to the one that follows. As in the “exquisite corpse” of the surrealists, the sequence of images reinvents the landscape in a new vision, through fortuitous encounters with fragments of sky, earth, architecture, trees, rocks, faces ….
     
    The square format in which the thematic series is composed favors, by its geometric configuration, multiple combinatorial scenographies. Thus, each recomposition amplifies and updates the perception of these mosaics of images that invite us to travel in a new planetary whole.
     
    An adventure that is not finished and which, maybe, is just beginning … ..
     
     
    Claude Courtecuisse

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  • Ile de France
    Field
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  • Fontainebleau
    Forest
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  • Nîmes
    Garrigue
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  • Saint-Césaire
    Siagne river
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  • Panarea
    The Matta's house
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  • Melbourne
    Federation Square Center
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  • Sydney
    Opera
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  • Los Angeles
    Down town car park
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  • Los Angeles
    Venice beach
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  • New York
    PS1
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  • New York
    Time Square
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