studio spotlights

MICHEL AUDEBERT

In 1975, Michel Audebert artist's adventure begins. Photographer and plastician, he takes us along in a search towards the beauty or the message is as strong as the image. "Even more than a work on the representation, my research is the expression of the feeling which emanates from the photographed subject ... In my images, the repetition does not have a "hypnotic" goal... The least variation on the subject must modify our perception of it... I have a high idea of Photography as a mode of expression. In a parallel with reality and the time which passes, I regard this one as a major art... It can create the illusion of reality like the impression of stopped time. For me, photography is a formidable instrument of dream and nostalgia. »

Here, in some lines, Michel Audebert, photographer and plastician, define and pose the scenery of his creative passion as a means of restoring a reality but more to express to see transcending the beauty of the world which surrounds it. In 1975 its adventure of artist begins; first steps in one of the birthplace of the French photographic expression while taking part in the meetings of the famous Photo-Club of the Val de Bièvres not far from recognized French Museum of Photography, then stage after stage, its career grow rich by meeting, collective exposures or in solo. How to determine or qualify its photographic work? Are there inspirations or Masters in whom it poses his own print? It is true that with Michel Audebert one could find some traces identity, here or there of Lucien Clergue, of David Hamilton to quote only these two great figures of photography. Its photographic art is more complex than a simple correspondence, the parallels thus stop there. We are not in naked photography, nature or environmental. Its work causes a feeling, a feeling to see a reflexion; the graphic celebration of a form, a curve, a detail, a matter, will have for certain besides an effect contemplative and called upon the bottom of us with well anchored existential codes.

.Most astonishing in its work, it is that one cannot dissociate the desire of the photographer of magnifier his model that it results human or from nature and to give him a capacity to be expressed in a peaceful harmony like soliciting us with a form of safeguarding, of respect For the galerist J. Debaigts "... Actually, although it proposes images to us, it transmits also messages to us, those of its imaginary always in awakening.

This man-photographer is an alchemist. In front of its objective nature yields with its aesthetic impulses, more than it imposes itself of it.... » Thus do not seek to categorize it in a field or another, observe its creations like works or its imaginary takes the step on reality. Moving or statics, its photography is an art at the same time easy of access and complex to decode, nothing is free and all is reflected and it is also what makes a work of art, its capacity to appear spontaneously and according to these proper codes.

In 1975, the photographer had been born. It was gradually moulted as a plastician, a change which had not escaped besides Christian Langlois, member of the Academy of the Art schools who in 1997 caused the idea with the artist to make the entrance examination with CASA VELASQUEZ in Spain, international establishment of artistic and scientific creation.

In my work on the image of Nature, well beyond the visual aspect, it is in fact our intimate relationship with it that I try to express, and in particular at the sensory and emotional level... My research on the transmission and the expression of emotions, is a visual writing a little subliminal, which creates the perception amplified by the very great "presence" of the subject exposed to the glance... One can find a certain "spirituality" in the general direction with my artistic research, in the direction where I try to capture precisely that which "does not see"... As for example the Light, of which I do not always remember to have been the witness, as well as certain forms and matters... That corresponds with my perceptions and metaphysical convictions! ... But one can also more simply consider that my expressed emotions come from my own sensitivity. In fact, my image work is autobiographical in the sense that it always reflects my emotional state of the moment ... But I always hope that these emotions can resonate with a part of the viewers of my photographic work!

The proximity and focus of the subject must also allow the expression of the greatest realism in its visual representation! The fragments of landscapes by their strong presence become "natural entities" which possess their own existence ... Moreover in the capture of the Light, I try to materialize it ... It must become visible on the "objects" which become the reflectors and transmitters, and which are then transformed into "bodies of light"! This one also becomes for me an Element in itself which is added to the Four Elements, and which has its own reality distinct from the object which serves as its support ... As for the Woman, she "materializes" the human presence being an integral part of the Creation, as a natural entity in the noblest sense ... The eroticism also approached visually but also emotionally, proceeds from the same idea of revealing intimacy and its part of secret ... always by this desire to show what we are not supposed to see! This is also valid for this fundamental emotion...

In fact, my personal research on the perception of Nature goes beyond abstraction, because the form of reality that I find is invisible by an intellectual work, but only visible by the research of the feeling... My perception of Nature is directly linked to my mental and emotional conditioning of the moment... Moreover when I leave in search of images, I am always in a certain availability of spirit, which gives me the impression to enter another reality than the one which presents itself to my eyes... I feel connected to another Space-Time while being present and conscious, of and in the natural environment of which I feel nevertheless to be an integral part! I have certain metaphysical convictions which are now increasingly confirmed by current Physics, however it is not my intention to impose them... My solitude in Nature and my relationship with Time and Death, have probably over the course of my life allowed me to have these metaphysical perceptions, which some people call extrasensory! It is like that, that I often have the impression to be in another state of consciousness in contact with Nature, and it is also what I try to express in my images... Moreover, my "retinal" memory does not always remember what it perceived in the moment! To clarify but simplifying, I would say that forests and rocks allow me a certain "return to myself", whereas open natural spaces are more difficult to capture. while the open natural spaces and the skies take me to a certain "opening to the Universe"! In the skies, my immersion in these "other landscapes" seems to give me access to different spaces and universes, that their visualization allows me to see and feel momentarily as a reality... Moreover for me, eroticism and spirituality are not incompatible and even proceed from two different and complementary approaches of what makes our individual, and beyond that our own existence... The body and the spirit united for the best, in our deep relationship with Nature!

In conclusion, beyond the subject of Creation, I try to capture an image of the sensation and emotion that emerges from it ... a bit like a subliminal image that the vision would not reveal! To summarize my artistic project, it is to give a "physical" reality to the images, by the "presence" of these and by the intimacy of our relationship with these entities of Nature ... The Four Elements are also treated, as being a constituent part of the Creation . My images of skies and water are an evocation of this... The Naked Human presented as well, reminds us that we are an integral part of Creation and Nature, in its osmosis with them!

studio spotlights

MICHEL AUDEBERT

Michel Audebert is, an architect, a composer of the beauty which surrounds us, it takes form in a woman, a tree, a sky or a wave and finally it arises a feeling of a whole, single. With him, reality is abstract; finally of account it is another dimension which it proposes to us.

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