ANDRES DONADIO www.andresdonadio.com contact@andresdonadio.com +33 6 15 11 27 30
Statement My approach into photography is centered on the challenges and the capabilities of the digital image. Today’s photography is no longer attached to its original purpose of indexing the reality but becomes also a creative tool. This change opens the door to endless possibilities and expands the field of the still image. Part of my photographic work is focused in researching new forms of representation and hybrid forms that can reevaluate or revisit classical practices in photography.
Renderings
Technique: Impression Jet d’Encre sur Papier Epson Premieum Semi-Gloss 250gr Dimensions: 50x70cm Support: tirage contrecollÊ sur PVC. Encadrement sous verre Date: 2014
Undefined Ladscapes
Technique: Impression Jet d’Encre sur Papier Epson Premieum Semi-Gloss 250gr Dimensions: 50x70cm Support: tirage contrecollÊ sur PVC. Encadrement sous verre Date: 2014
Paysages Augmentés
Technique: Impression Jet d’Encre sur Papier Hahnemühle Photo Rag 308gr Dimensions: 105x85cm / 87x71cm Support: tirage contrecollé sur dibond. Encadrement sous verre Dates: 2012-2013
The series “Paysages Augmentées” (Augmented Landscapes) consists on images of landscapes that show different natural forms that, freed from the burden of the contemporary world, can bring to mind the tradition of the Chinese or the German romantic painting. The title is a reference to the “augmented reality”, the view of a physical, real-world environment, whose elements are augmented by computer-generated sensory input. I started the series by revisiting old photos from a trip to the south of South America. I started working with those images that illustrate some of the outstanding landscapes I saw during that trip. Photos where took with an old Point and Shoot camera and the files I had where low resolution jpegs. I wanted to bring back to life the memories of those places. I begin with a base image, an original landscape that I use as the starting point for “constructing” space. In these images the visual field of the picture spreads out and extends the landscape that is originally represented. A repetition of motifs blends in different ways with the image and increase the spatial context in which the photo was taken. I use different digital techniques to build the final image. Some recomposition and filling algorithms help me to create some new elements around the image. I interpolate this procedure with some precise interventions that allow me to control the result. This action can be considered as the equivalent of the painter’s brush. It helps me to design the new image. The image I started with represents less than 1/4th of the final image. The image evolves and becomes my interpretation of the actual places I visited.
Les œuvres de Paysages Augmentés, nous parlent de deux usages de la photographie : La première c’est la photographie de voyage : une photographie d’usage populaire, vernaculaire diront certains. Cette photographie «simple», faite par le voyageur afin de se souvenir rappelle évidemment le fameux Punctum de Barthes, le «ça a été». Mais ce qui intrigue dans Paysages Augmentés, c’est que ce n’est pas ce Punctum l’enjeu central. Le paysage est augmenté d’une autre valeur de réel : celle du souvenir, celle qui décolle la représentation de l’objet de sa lourde carapace de document que lui conjoint la photographie. Le paysage est assimilé à une histoire, à une sensation, à une interprétation individuelle. Celle qui permet à la masse d’une montagne de devenir aussi légère que la brume. Celle qui permet de dire cette montagne n’est pas exactement comme cela, mais c’est comme cela que je m’en souviens et que je vous la livre. De ses clichés faits avec le plus simple des boitiers numériques, Andres use de la photographie comme d’un révélateur d’atmosphère, d’ambiance. Il n’est pas question ici de la vision exacte d’un paysage, d’une topographie quelconque mais de la mémoire d’un lieu, d’un «état» de celui qui a vu et qui se rappelle. La mémoire n’a que faire de l’état réel du monde, elle l’enrichit, le trouble... l’augmente. Il nous livre sa réalité, celle de la sensation «à cheval» sur le réel. C’est là qu’intervient le deuxième usage de la photographie : le geste de création. La matière même de l’image, l’information numérique, est utilisée pour redonner forme à sa sensation de l’espace remémoré. La photographie devient alors image, grâce à l’outil numérique. Le procédé utilisé est à l’image de notre manière d’être au monde : il y a ce qui est, et il y a notre monde, celui que nous nous construisons intérieurement à partir même de la matière existante du monde. Nous réalisons chacun notre propre carte, un monde revisité par nos propres expériences et nos sensations. Nous nous créons des représentations en adéquation avec notre histoire personnelle, nos souvenirs et notre imaginaire. Chacun de nous vit dans un monde ni totalement inventé, ni totalement physiquement réel. La limite est fine et nous marchons toujours en équilibre sur l’augmentation de nos réels afin de toujours garder le contact avec le fil du monde qui nous relie tous : celui de l’index, de la carte (voir «postale») et de la matière. Nicolas Havette & Guillaume Chamahian Direction artistique du festival Les Nuits Photographiques
No Landmarks
Technique: Impression Jet d’Encre sur Papier Hahnemühle Photo Rag 308gr Dimensions: Formats varibles 230x150cm / 150x100cm / 110x75cm / 80x75cm. Support: tirage contrecollé sur dibond Dates: 2011-2012
The word “Landmark” literally meant a geographic feature used by explorers to find their way back or through an area. Today a landmark includes anything that is easily recognizable, such as a monument, building, or other structure. It is also used to designate places that might be of interest due to notable physical features or historical significance. The denial of the term “Landmark” is used here to designate places, shapes and patterns that have been extracted from their environment. This extraction leads to an inability to locate the images in a specific place; they exist in the absence of a point of reference, a lack of scale and perspective. We find ourselves incapables to place the images in a known environment. This incapacity reminds us of the constituting inability to live in the images. In the series the motif of trees and nature is accompanied with geometric forms that go along with the natural spaces. There are images that recall the geometric approach with which Rodchenko photographed trees in relation to industrial buildings. Other may recall the mathematical forms present in some Sugimoto’s images. The subject of trees and nature is presented here as a symbol of reality. They are a “trans-historical and cross-cultural figure, strongly implemented and widely used in the shadow of which building, living and being are ramified” . The trees are seized following a geometrical approach that matches the sculptural and architectural figures that go with them. Most part of the images has been completely isolated from their environment. They can be considered as singular entities, signs that were taken from the living to become something sufficient by itself. These images are not mean to talk about something that really exists. They become patterns that have been extracted from their surroundings. They are presented as topographies around the question of a place from which something can arise; something that is in a state of latency, of suspension. There is a confrontation and a dialogue between two kinds of images: those that came from a natural order; the others that arise from architectural and sculptural figures and mimic the “genetic” processes of nature. As a result of this confrontation both types of images are turned into single geometrical motifs.
Collaborations with Reeve Schumacher
Technique: Impression Lambda sur Papier Matte, Papier Calque, Graphite et Acrylique Blanc Dimensions: Formats divers Support: Encadrement sous verre Date: 2012
CV
EDUCATION ENSP ARLES 2009-2012: MFA in Photography, École Nationale Supérieure de la Photographie d’Arles INSA Lyon 2009: Internship in CREATIS, medical imaging laboratory. Lyon, France. Andes University 2005-2010: Bachelor in Computer Science RESIDENCIES • Recidency at the “Ateliers du Plessix-Madeuc”, March-June 2014 EXHIBITIONS 2014 • Collective Exhibition “Inside/Outside Territory”, Unseen Photo Fair, Amsterdam • Solo Show “Paysages Augmentés”, Vol de Nuits, Marseille • Collective Exhibition “Photosynthèse”, Abbaye de Léhon, Dinan 2013 • Solo Show “Paysages Augmentés”, Straat Gallery, Marseille • Collective Exhibition “Confession d’un masque” et “Passage”, Académie des Beaux-arts de Sofia, Bulgarie • Solo Show in collaboration with Reeve Schumacher, L’Hoste Gallery, Arles • Official Selection projection for the “Voies Off” prize, Cour de l’Archevêché, Arles • Collective Exhibition “Inside/Outside Territory”, Artzone. Kyoto, Japan • Collective Exhibition “La Photographie Maison Blanche #2”, MAD Gallery, Marseille 2012 • Collective Exhibition “Le son d’un autre tambour”, Le Magasin de Jouets Gallery, Arles • Exhibition “Digital Images: Technique, Esthetics And Ideology”, Image Institute, Aix-en-Provence • “NoFound Photo Fair” Les Magasin de Jouets Gallery, Paris • Collective Exhibition “La Photographie Maison Blanche #2”, Marseille • Collective Exhibition “About Photography”, Kaunas Photo Festival. National M.K.Ciurlionis Art Museum, Kaunas, Lithuania
• “Pauses”, Hôtel d’Arlatan Gallery, Rencontres d’Arles • Collective Exhibition “Ceux qui arrivent” (curatorship Fannie Escoulen), Rencontres d’Arles • Collective Exhibition “WIP 2012” (curatorship Emeric Glayse), Rencontres d’Arles Off • Collective Exhibition “Bäzär”, Le Magasin de Jouets Gallery, Arles • Collaboration with Reeve Schumacher, Exhibition “OUROBOROS”, L’Hoste Gallery, Arles 2011 • Official Selection projection for the “Voies Off” prize, Cour de l’Archevêché, Arles 2010 • Collective Exhibition “WIP”, Rencontres d’Arles Off, Arles • Projection pendant Kaunas Photo Festival, Kaunas, Lituanie 2008 • Collective Exhibition “La Localidad” Gallery. Bogotá, Colombia • Exhibition at “Casa del Teatro” Gallery. Bogotá, Colombia PRIZES 2013 • Official Selection for the Voies Off prize, Rencontres d’Arles 2012 • Prize “Maison Blanche #2”, Marseille • Olympus Prize for ENSP Students, 3rd Prize 2011 • Official Selection for the Voies Off prize, Rencontres d’Arles PUBLICATIONS • Digital Images: Technique, Aesthetics And Ideology, PUP, spring 2014 • Sfz 14, Lettre d’Information Accentus, january 2014 • Échappées Belles, Ed. Diaphane, june 2012 • Catalogue des Rencontres d’Arles 2012, Actes Sud, june 2012 • Qu’avez-vous fait de la photographie?, Actes Sud, march 2012