Artist Paul Rousteau’s exercise pushes photography to its boundaries, distorting fact and breaking free of common representation criteria. Blending the medium with electronic art and portray, his perform is an experimental hybrid, analyzing the romance between painting and pictures.
It is with this pictorialistic tactic that Rosteau visited Claude Monet’s backyard in Giverny, France. Struck by the simultaneous paradise of the gardens and the “trivial eyesight of teams roaming it as a tourist attraction,” Rousteau considers how beginner photography in the electronic age has shifted our romantic relationship to the medium. “I appeared in the countless numbers of each day photographs made at and on Giverny,” he clarifies. “Bugs, glitches, software package mistakes and other digital alterations are then printed, painted upon, and re-photographed, hence questioning the status of the photographic picture, of its author, and of its use in the digital period.”
“These photographs are a testimony to an amused reflection on the successive steps of an creative motion. From its belittled avant-garde beginnings to its accession to mainstream culture. Shifting to a commercial and decorative standing, one particular emptied of its innovative principles. Involving sacred and profane, my eyesight navigates involving an homage to the Impressionist master and an iconoclastic reappropriating of an oeuvre, contributing in the generation of a new medium we, mistakenly, continue on contacting Photography.”
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