Pure Photography #1 2019

This work is part of the pursuit of a formal research in contemporary photography where I explore various avenues to try to free myself from the flatness of photography. To break this forced two-dimensionality, I use several processes: collages, assemblies, stripping, cutting, tearing, crumpling, crimping, etc. I also use three-dimensional surfaces to elevate photography, and increase depth. My work consists of superimposed layers of photographs. My research is influenced by the works of Buckminster-Fuller’s use of triangular elements, more specifically geodesic polyhedrons.

For this project, I used full-format sensor cameras: a SONY A7R with a Zeiss FE 16-35mm F4 lens for environments. For objects, I used a PHASE ONE IQ 140 with a Schneider LS 80mm f2.8 lens. The objects were illuminated with a single flash, the Profoto B1 with a 39‘’ Elinchrom diffusion box : Rotalux Octabox.

Cultural Reappropriation #7 2018

This work is part of the pursuit of a formal research in contemporary photography where I explore various avenues to try to free myself from the flatness of photography. To break this forced two-dimensionality, I use several processes: collages, assemblies, stripping, cutting, tearing, crumpling, crimping, etc. I also use three-dimensional surfaces to elevate photography, and increase depth. My work consists of superimposed layers of photographs. My research is influenced by the works of Buckminster-Fuller’s use of triangular elements, more specifically geodesic polyhedrons.

For this project, I used full-format sensor cameras: a SONY A7R with a Zeiss FE 16-35mm F4 lens for environments. For objects, I used a PHASE ONE IQ 140 with a Schneider LS 80mm f2.8 lens. The objects were illuminated with a single flash, the Profoto B1 with a 39‘’ Elinchrom diffusion box : Rotalux Octabox.

Cultural Reappropriation #14 2018

This work is part of the pursuit of a formal research in contemporary photography where I explore various avenues to try to free myself from the flatness of photography. To break this forced two-dimensionality, I use several processes: collages, assemblies, stripping, cutting, tearing, crumpling, crimping, etc. I also use three-dimensional surfaces to elevate photography, and increase depth. My work consists of superimposed layers of photographs. My research is influenced by the works of Buckminster-Fuller’s use of triangular elements, more specifically geodesic polyhedrons.

For this project, I used full-format sensor cameras: a SONY A7R with a Zeiss FE 16-35mm F4 lens for environments. For objects, I used a PHASE ONE IQ 140 with a Schneider LS 80mm f2.8 lens. The objects were illuminated with a single flash, the Profoto B1 with a 39‘’ Elinchrom diffusion box : Rotalux Octabox.

Note: The text above was written by the Artist. No modification was made by COCA.

Gilles Tarabiscuité

Canada

http://tarabiscuite.com/

STUDIES
Since 1994 PhD in Art History, McGill University (Montreal, Canada).
Subject : History of collecting in the XVIth and XVIIth centuries (Cabinets of curiosities).
1994 Minor in Art History, University of Montréal (Montréal, Canada).
1991 – 1993 Squatter student in art History, University of Montréal and UQAM (Fernande St-Martin).

EXHIBITIONS
2019-08 CEGEP Marie-Victorin, (Montréal, Canada).
2019-07 Moulin seigneurial de Pointe-du-Lac, (Trois-Rivières, Canada).
2019-06 Galleri Heike Arndt Berlin, (Berlin, Germany).
2019-04 FORM-A(R)T 2019, Kunstverein Glinde, (Hamburg, Germany).
2018-11 Figureworks, Saint Brigid’s Centre for the Arts (Ottawa, Canada).
2018-10 European Month of Photography | Emerging Photographers, Berlin Blue art Gallery (Berlin, Germany).
2018-10 MonitorFest, Heraklion (Crete, Greece).
2018-05 Tokyo International Foto Awards, ICA Gallery (Tokyo, Japon).
2018-05 Anlitz der Zeit (Face of Time), Galerie Luz (Montreal, Canada) .

Share this Artist