NEW YORK NICOLAS RUEL
NEW YORK NICOLAS RUEL
PHOTOGRAPHS PRINTED ON STAINLESS STEEL PHOTOGRAPHIES IMPRIMÉES SUR ACIER INOXYDABLE
THE COMBINED EFFECTS OF A GESTURE, REVOLVING THROUGH TIME, OPENING A PARENTHESIS IN ITS FLOW, AND OF A TEXTURE, REVEALING THE SCULPTURAL AND EMBLEMATIC NATURE OF THE PHOTOGRAPHS, ARE NOW NICOLAS RUEL’S SIGNATURE.
4
APOGEE
NEW YORK 2007–2020 For some fifteen years, Nicolas Ruel has returned, time and again, to Paris and New York, as to the twin foci of an elliptical orbit. These two cities, which count amongst the most profusely imagined in human history, are natural centres of gravity for a photographer whose work stems from the transfiguration of déjà vu.
His round-trips to these idealized cities started around the same time that he began experimenting with his two techniques of choice. On the one hand, lengthy in-camera exposures, dilating the decisive moment, exfoliating each frame, and, through the accumulation of images, submerging us into the current of an endless crossfade. Ruel had the novel idea of combining these effects, as old as photography itself, with printing on metallic surfaces. This treatment underlines the materiality of the pigments, imbuing the photographed subjects with a mineral radiance that enhances their iconicity.
Over time, he has subjected this modus operandi to variations and refinements, and it has become second nature to him. The combined effects of a gesture, revolving through time, opening a parenthesis in its flow, and of a texture, revealing the sculptural and emblematic nature of the photographs, are now Nicolas Ruel’s signature. In these, he has found a new starting point, both a lever and a pivot: a means to enter head-on into a light and a time, and witness the shimmering into being of an aura—so we can touch the very glow that attracted the gaze of the photographer and led him into self-effacement.
What strikes me, upon reflection, in the images of the New York series,
stone from its subsoil to give shape to the architectural monuments that
is their ghosting of humanity. Hovering in the midst of a transparent
regally hover over its chessboard of streets.
architecture, it no longer bears witness to anything. If one wishes to latch onto a human gaze, one might have to hail this reader,
Within this narrative scaffolding, a presence constantly makes itself felt; a
turning his back to us in the foreground of Central Park’s Great Lawn.
notional agent tracing an imaginary axis through its own consciousness. I,
Or maybe that little girl in the pink dress, absent-mindedly wandering on
for one, think it’s the floating, autonomous gaze of the city, forever turning
top of one of the Park’s exposed rocks, a cluster of colored balloons in hand.
back in its own wake, only to leave us on the threshold of recognition.
They both are ostensibly busy looking askance. These photographs are, strictly speaking, portraits of Nobody, and maybe that’s precisely the point. Every photograph seems to be inhabited by an anonymous gaze, which
NEW YORK 2007-2020
cannot quite be equated with the photographer’s. The series gravitates around some form of magnetic equator, weaving through time, and as incisive, in
Depuis une quinzaine d’années, Nicolas Ruel retourne, année après année,
its contrast with Manhattan’s orthogonal grid, as Broadway’s diagonal path.
à Paris et à New York, comme aux foyers d’une orbite elliptique. Ces deux
It combines three strands of images, in a sequence reminiscent of our naïve
villes, qui comptent parmi les plus abondamment imaginées dans l’histoire
conceptions of time: amongst the iconic skyscrapers of the old city, flaunting
humaine, sont des centres de gravité naturels pour un photographe dont la
their empire in black and gold, rise futuristic towers, their summits abuzz
pratique se fonde sur la transfiguration du déjà-vu.
with flying engines, like the disquieting standards of a coming reign. Here,
6
the future finds its footing in the visions of a reinvented past. In the second
Ses aller-retours vers ces villes d’Épinal débutent à peu près au même
sequence of images, the present, in full color, espouses the Brownian motion
moment où il commence à expérimenter avec ses deux techniques de
of crowds, cars and cabs along the city’s arteries. The past returns at last, in
prédilection. D’une part, la longue et double exposition in camera, dilatation
the third strand, radiating in black and white, in photographs that remind
de l’instant décisif qui entraîne l’effeuillement de chaque plan et qui, par le
us that the city owes a great part of its preponderance to the accumulation
cumul des images, nous convie à une sorte de fondu-enchaîné perpétuel.
of very concrete “commonplaces.” We are reminded that, in order to anchor
Ce sont-là des effets aussi vieux que la photographie elle-même, que Ruel
itself into place, and within our imaginations, New York needed to draw the
a eu l’idée de conjuguer à l’impression sur substrat métallique. Celle-ci
accuse la matérialité du pigment, et confère une radiance minérale aux
sorte d’équateur magnétique, filant à travers temps, et aussi tranchant, dans
sujets photographiés, dont l’iconicité s’en trouve rehaussée.
son contraste avec la grille orthogonale des rues de Manhattan, que le tracé diagonal de Broadway. Elle fait se succéder, comme notre vision la plus
Ce modus operandi, qui a été, au fil des ans, sujet à diverses variations et
simple de la temporalité, trois séquences : parmi les gratte-ciels archi-connus
raffinements, est devenu pour lui comme une seconde nature. Les effets
de la ville font saillie des immeubles futuristes, entourés d’inquiétants engins
combinés d’un geste, qui consiste à se retourner à travers la durée, pour y
volants, qui s’affirment en noir et or, comme les étendards d’un nouveau
ouvrir une parenthèse, et d’une texture, qui révèle la nature sculpturale et
règne. L’avenir y trouve ses assises dans la vision d’un passé réinventé. Puis
emblématique des clichés, sont aujourd’hui la signature de Nicolas Ruel. Il
le présent s’affiche en quatre couleurs, à travers le mouvement brownien
y a trouvé un nouveau point de départ, qui est devenu un point d’appui, et
des foules, des voitures et des taxis jaunes le long des artères de circulation.
un pivot : une façon d’entrer de plain-pied dans la substance d’une lumière,
Le passé, enfin, revient irradier en noir et blanc, dans des photos qui nous
et d’un temps, pour y laisser transparaître une aura – celle qui a attisé le
rappellent que la prégnance de la ville tient aussi à une accumulation de lieux
regard du photographe, et qui l’a guidé jusqu’à l’effacement.
communs des plus concrets. Pour bien s’ancrer en place, et en nous, New York a eu besoin de la pierre de son sous-sol, des monuments architecturaux
Ce qui frappe, après réflexion, dans les images de la série new-yorkaise,
qu’elle en a tirés, qui pèsent de toute leur majesté sur l’échiquier des rues.
c’est la spectralisation de l’humanité, qui, se retrouvant suspendue au milieu d’une architecture transparente, n’y a plus même valeur de témoin. Si on voulait s’accrocher au regard de quelqu’un, il faudrait chercher à convaincre ce lecteur, qui nous tourne le dos en avant-plan du Great Lawn de Central Park, de se retourner vers nous. Ou peut-être cette petite fille en robe rose,
Au-delà de ce découpage, une présence constamment s’affirme. Celle d’un témoin notionnel qui trace, à travers sa propre conscience, un axe imaginaire. Je crois que c’est le regard de la ville elle-même que l’on voit se retourner dans son sillage, pour nous laisser au seuil d’une reconnaissance.
une grappe de ballons colorés en main, l’air absent au sommet d’un rocher du Park. De toute évidence, ils sont occupés à regarder ailleurs. Il n’y a ici, à
DANIEL CANTY
proprement parler, de portraits de Personne, ou il n’y a que ça. Chaque photographie, pourtant, me semble habitée d’un regard anonyme, qui n’est pas tout à fait celui du photographe. La série s’articule autour d’une
7
8
MIMESIS
BANDWIDTH
11
12
BROOKLYN BRIDGE
14
CORRESPONDENCE
LIBERTY ISLAND
15
16
METROPOLIS
LANDMARKS
17
18
OPEN SOURCE
20
ON THE EDGE
MOTION
21
22
ODE
EPSILON
23
24
FLATIRON DISTRICT
DECONSTRUCTION
25
26
ASSEMBLAGE
GOTHAM
27
28
EMPIRED
30
CIVIC
ROCKEFELLER
31
32
DECO
STOCK EXCHANGE
33
34
DECIBEL
36
AXIS
AXIS
37
LANDFORM
39
40
LA LECTURE
GIRL WITH BALLOONS
41
42
LOWER PASSAGE
RENDEZ-VOUS
43
44
CENTRAL PARK
46
GUGGENHEIM
STUDIES
47
48
ROSE READING ROOM
50
SOLAR FLARE APOGEE
RECURRENCE
SOLAR FLARE
51
52
ASCENSION
PARALLAX
53
54
ENCOUNTER
CELSIUS
55
56
W 49 ST
ARRIVAL
57
58
GRAVITY
DITTO
59
60
HEADROOM
1930
61
62
MAGNITUDE
NATION
63
64
BLUE SHIFT
PULSE
65
66
SHIFT
68
FLATIRON
FIFTH AVENUE
69
70
REWIND
72
HISTORY
SPRING STREET
73
74
14TH STREET
76
WASHINGTON STREET
78
PROJECTION
TWO BRIDGES
79
80
AEGIS
TRIBUTE
81
82
COLA
TIMES SQUARE
83
84
2020
EAST RIVER
87
SOHO
89
THE CITY
91
NEW YORK
93
94
HOME
96
LIBERTY
DEJEUNER SUR L’HERBE
97
BREATHE
99
100
RETROSPECTIVE
OCULUS
101
102
MANHATTAN
MANHATTAN
STATE OF MIND
103
104
FREQUENCY
106
APOGEE
CHRONICITY
107
108
WALL STREET
SUPREME
109
110
TRUTH OR DARE
BIG APPLE
111
112
CONNECTION
GRAND CENTRAL
113
114
PARK AVENUE
116
BRYANT PARK
SPRING
117
118
UNION SQUARE
120
WATERFRONT
121
122
DUMBO
CADENCE
123
124
UPPER EAST SIDE
MIDTOWN
125
INDEX
6-7
MIMESIS NEW YORK, USA, 2020
14
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
PHOTOGRAPHS PRINTED ON STAINLESS STEEL PHOTOGRAPHIES IMPRIMÉES SUR ACIER INOXYDABLE
METROPOLIS NEW YORK, USA, 2020
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
EDITION OF/DE 5 EDITION OF/DE 1
8-9
BANDWIDTH NEW YORK, USA, 2020
15
30 x 90 in | 76 x 229 cm 40 x 120 in | 102 x 305 cm
10-11
BROOKLYN BRIDGE NEW YORK, USA, 2020
CORRESPONDENCE NEW YORK, USA, 2020
16
LIBERTY ISLAND NEW YORK, USA, 2020
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 244 cm
126
INDEX
OPEN SOURCE NEW YORK, USA, 2020
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 244 cm
18
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
13
NEW YORK, USA, 2020
60 x 40 in | 152 x 102 cm 72 x 48 in | 183 x 122 cm
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 244 cm
12
LANDMARKS
ON THE EDGE NEW YORK, USA, 2020
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
19
MOTION NEW YORK, USA, 2020
60 x 40 in | 152 x 102 cm 72 x 48 in | 183 x 122 cm
20
ODE NEW YORK, USA, 2020
25
80 x 40 in | 204 x 102 cm 96 x 48 in | 244 x 122 cm
21
EPSILON NEW YORK, USA, 2020
FLATIRON DISTRICT NEW YORK, USA, 2020
26-27
DECONSTRUCTION NEW YORK, USA, 2020
28
ASSEMBLAGE NEW YORK, USA, 2020
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
31
NEW YORK, USA, 2020
STOCK EXCHANGE NEW YORK, USA, 2018
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 244 cm
32-33
DECIBEL NEW YORK, USA, 2020
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
CIVIC NEW YORK, USA, 2020
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
29
60 x 40 in | 152 x 102 cm 72 x 48 in | 183 x 122 cm
24
EMPIRED
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
23
NEW YORK, USA, 2020
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 244 cm
22
GOTHAM
ROCKEFELLER NEW YORK, USA, 2020
60 x 40 in | 152 x 102 cm 72 x 48 in | 183 x 122 cm
30
DECO NEW YORK, USA, 2020
60 x 40 in | 152 x 102 cm 72 x 48 in | 183 x 122 cm
127
35
AXIS NEW YORK, USA, 2020
41
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
36-37
LANDFORM NEW YORK, USA, 2018
LA LECTURE NEW YORK, USA, 2014
42-43
GIRL WITH BALLOONS NEW YORK, USA, 2018
44
LOWER PASSAGE NEW YORK, USA, 2018
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 244 cm
INDEX 128
CENTRAL PARK NEW YORK, USA, 2010
GUGGENHEIM NEW YORK, USA, 2018
45
STUDIES NEW YORK, USA, 2018
49
ROSE READING ROOM NEW YORK, USA, 2018
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 244 cm
NEW YORK, USA, 2018
SOLAR FLARE NEW YORK, USA, 2020
60 x 40 in | 152 x 102 cm 72 x 48 in | 183 x 122 cm
50
ASCENSION NEW YORK, USA, 2020
80 x 40 in | 204 x 102 cm 96 x 48 in | 244 x 122 cm
51
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
46-47
RECURRENCE
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
40
48
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
39
NEW YORK, USA, 2014
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 244 cm
30 x 90 in | 76 x 229 cm 40 x 120 in | 102 x 305 cm
38
RENDEZ-VOUS
PARALLAX NEW YORK, USA, 2020
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
52
ENCOUNTER NEW YORK, USA, 2020
60 x 40 in | 152 x 102 cm 72 x 48 in | 183 x 122 cm
53
CELSIUS NEW YORK, USA, 2020
58
60 x 40 in | 152 x 102 cm 72 x 48 in | 183 x 122 cm
54
W 49 ST NEW YORK, USA, 2014
ARRIVAL NEW YORK, USA, 2020
59
GRAVITY NEW YORK, USA, 2014
60
DITTO NEW YORK, USA, 2018
40 x 40 in | 102 x 102 cm 48 x 48 in | 122 x 122 cm
1930 NEW YORK, USA, 2010
MAGNITUDE NEW YORK, USA, 2020
61
NATION NEW YORK, USA, 2020
64-65
BLUE SHIFT NEW YORK, USA, 2010
60 x 40 in | 152 x 102 cm 72 x 48 in | 183 x 122 cm
NEW YORK, USA, 2014
SHIFT NEW YORK, USA, 2020
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 244 cm
66
FLATIRON NEW YORK, USA, 2018
60 x 40 in | 152 x 102 cm 72 x 48 in | 183 x 122 cm
67
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
62
PULSE
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 244 cm
60 x 40 in | 152 x 102 cm 72 x 48 in | 183 x 122 cm
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
57
63
60 x 40 in | 152 x 102 cm 72 x 48 in | 183 x 122 cm
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
56
NEW YORK, USA, 2007
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
55
HEADROOM
FIFTH AVENUE NEW YORK, USA, 2020
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 244 cm
68
REWIND NEW YORK, USA, 2010
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 244 cm
INDEX
129
70
HISTORY NEW YORK, USA, 2009
76-77
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
71
SPRING STREET NEW YORK, USA, 2018
14TH STREET NEW YORK, USA, 2014
78
WASHINGTON STREET NEW YORK, USA, 2020
79
PROJECTION NEW YORK, USA, 2009
60 x 40 in | 152 x 102 cm 72 x 48 in | 183 x 122 cm
130
AEGIS NEW YORK, USA, 2018
TRIBUTE NEW YORK, USA, 2020
80
COLA NEW YORK, USA, 2020
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
81
TIMES SQUARE NEW YORK, USA, 2010
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
2020 NEW YORK, USA, 2020
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 244 cm
85-86
EAST RIVER NEW YORK, USA, 2014
30 x 90 in | 76 x 229 cm 40 x 120 in | 102 x 305 cm
87-88
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
76
82
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 244 cm
74-75
NEW YORK, USA, 2018
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 244 cm
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
72-73
TWO BRIDGES
SOHO NEW YORK, USA, 2018
30 x 90 in | 76 x 229 cm 40 x 120 in | 102 x 305 cm
88-89
THE CITY NEW YORK, USA, 2018
30 x 90 in | 76 x 229 cm 40 x 120 in | 102 x 305 cm
91
NEW YORK NEW YORK, USA, 2018
98
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 244 cm
92-93
HOME NEW YORK, USA, 2018
LIBERTY NEW YORK, USA, 2018
99
DEJEUNER SUR LHERBE NEW YORK, USA, 2017
100
BREATHE NEW YORK, USA, 2014
30 x 90 in | 76 x 229 cm 40 x 120 in | 102 x 305 cm
OCULUS NEW YORK, USA, 2018
MANHATTAN NEW YORK, USA, 2014
101
STATE OF MIND NEW YORK, USA, 2014
106
FREQUENCY NEW YORK, USA, 2017
40 x 54 in | 102 x 137 cm 60 x 80 in | 152 x 204 cm
NEW YORK, USA, 2020
WALL STREET NEW YORK, USA, 2017
40 x 54 in | 102 x 137 cm 60 x 80 in | 152 x 204 cm
107
SUPREME NEW YORK, USA, 2018
40 x 54 in | 102 x 137 cm 60 x 80 in | 152 x 204 cm
108
40 x 54 in | 102 x 137 cm 60 x 80 in | 152 x 204 cm
102-103
CHRONICITY
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 204 cm
40 x 54 in | 102 x 137 cm 60 x 80 in | 152 x 204 cm
40 x 54 in | 102 x 137 cm 60 x 80 in | 152 x 204 cm
97-98
104-105
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
60 x 40 in | 152 x 102 cm 72 x 48 in | 183 x 122 cm
95
NEW YORK, USA, 2018
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 244 cm
94
RETROSPECTIVE
TRUTH OR DARE NEW YORK, USA, 2014
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
109
BIG APPLE NEW YORK, USA, 2017
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
INDEX
131
110
CONNECTION NEW YORK, USA, 2020
116-117
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
111
GRAND CENTRAL NEW YORK, USA, 2010
PARK AVENUE NEW YORK, USA, 2014
118-119
BRYANT PARK NEW YORK, USA, 2018
120
SPRING NEW YORK, USA, 2018
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
132
INDEX
NEW YORK, USA, 2018
DUMBO NEW YORK, USA, 2020
60 x 40 in | 152 x 102 cm 72 x 48 in | 183 x 122 cm
121
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
115
WATERFRONT
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 204 cm
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 204 cm
114
NEW YORK, USA, 2018
40 x 80 in | 102 x 204 cm 48 x 96 in | 122 x 204 cm
40 x 40 in | 102 x 102 cm 48 x 48 in | 122 x 122 cm
112
UNION SQUARE
CADENCE NEW YORK, USA, 2018
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
122
UPPER EAST SIDE NEW YORK, USA, 2018
40 x 60 in | 102 x 152 cm 48 x 72 in | 122 x 183 cm
123
MIDTOWN NEW YORK, USA, 2018
60 x 40 in | 152 x 102 cm 72 x 48 in | 183 x 122 cm
133
BIOGRAPHY / BIOGRAPHIE Nicolas Ruel has traveled across a hundred countries to build a large body of
Nicolas Ruel a voyagé à travers une centaine de pays afin de constituer un large
work, including the Cityscape, Civilization, and Industrial projects. The artist
corpus artistique, notamment les projets Cityscape, Civilization et Industrial.
was born in Montreal in 1973. He spends his time between Paris, New York and
L’artiste est né à Montréal en 1973, il partage son temps entre Paris, New York et
Montreal, where his studio is based.
son studio de Montréal.
He is featuring emblematic cities with a futuristic angle; a tribute to historical
Son regard futuriste reconfigure le tracé de villes emblématiques et rend
sites, architectural splendors and lifestyles of humankind in the 21 century.
hommage aux splendeurs architecturales grâce à une technique de double
The artist has developed an in-camera double exposure method, a prevalent
exposition in camera. Les tirages grand format sur acier inoxydable, consacrés
showcases in his work to create unique visual signatures. The large-format
aux séries Cityscape et Industrial, mettent en valeur la monumentalité des
stainless steel prints, dedicated to Cityscape and Industrial series, highlight the
sujets avivés, par la surface métallique et les encres chatoyantes. Le bronze fait
monumentality of his subjects, which bring the metallic surfaces to life with
son entrée comme support photographique dans la série Civilization, qui revisite
shimmering inks. Bronze first appeared as a photographic medium in the series
des sites archéologiques, des sanctuaires et des cités antiques dont les vestiges
Civilization, which revisits the historically charged vestiges of archeological sites,
sont chargés d’histoire. Plus récemment, de nouvelles séries mettant en vedette
sanctuaries, and ancient cities. More recently, prints on paper and gold plates
palais et châteaux ont fait place à des tirages sur papier et sur plaque d’or.
st
were introduced in new series featuring palaces and castles around the world. Ses œuvres ont fait l’objet de nombreuses expositions individuelles et
134
His works have been featured in solo and group exhibitions and art fairs around
collectives à travers le monde et lors de foires d’art contemporain en plus
the world. His photographs are part of numerous public and private collections,
d’intégrer plusieurs collections publiques et privées, tel que Air Canada, Cirque
namely Air Canada, Cirque du Soleil, Montreal Museum of Fine Arts, Museum
du Soleil, Musée des beaux-arts de Montréal, Museum Europäischer Kulturen,
Europäischer Kulturen, Power Corporation, Microsoft, and The Rothschild Group.
Microsoft, Power Corporation et The Rothschild Group. Il a également collaboré
He has also collaborated with international magazines such as Vogue and
à des magazines internationaux tels que Vogue et National Geographic. Il est
National Geographic. He is represented in Canada by Galerie de Bellefeuille.
représenté au Canada par la Galerie de Bellefeuille.
BIOGRAPHY / BIOGRAPHIE
CREDITS / CRÉDITS PHOTOGRAPHS / PHOTOGRAPHIES Nicolas Ruel PHOTO EDITION / ÉDITION PHOTO Jean Blais TEXT / TEXTE Daniel Canty COPYEDITING / RÉVISION LINGUISTIQUE Luba Markovskaia GRAPHIC DESIGN / DESIGN GRAPHIQUE Atelier Nicolas Ruel Raja Ouali
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without prior permission in writing from the author. / Tous droits réservés. Aucune partie de cette publication ne peut être reproduite ou transmise sous quelque forme ou par quelque moyen que ce soit sans l’autorisation écrite préalable de l’auteur.
135
His bold, innovative and singular approach to the resulting images, becomes the rebirth of unconventional storytelling through a timeless crusade. THIERRY-MAXIME LORIOT
136
APOGEE
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