Christian Aussillou, Monochrome Magician
A photographer who focuses mainly on urbanism but sometimes dabbles in nature, and at times even poses as a reporter overseas.
...Christian Aussillou happily leads the an artist’s double life. Though clearly exhibiting a penchant for black and white, he also works with colour. He captures rare moments of exceptional banality. A stalker of moments, Christian Aussillou is no man for snapshots. He constructs his photos meticulously, waiting for hours to achieve the desired effect.
According to him, "we do not take a picture, but we create it”. His work never ceases to amaze, owing to the precision of capture and revelation of the improbable: The Brooklyn Bridge seen only with a single couple, The Vero Dodat Gallery almost deserted, various wild animals or a Deer Fight. Hours of waiting just to get the desired shot ...
Other than the improbability, the artist surprises us by the technical constraints of his works.
Take some of his wide shots for example: in The Brooklyn Bridge, The Vero-Dodat Gallery or The Abandoned Convent 2, we see similar guidelines leading us towards minuscule characters. Observe them … These people are only passing by. Distant silhouettes captured surreptitiously. They are isolated forms that serve as a scale for the gigantism of popular landmarks; emphasising their coldness when abandoned. One or two characters bathed in loneliness call out to the silence that surrounds them.
Through his method of defining lines and frames, Christian Aussillou asserts an aesthetic choice and mastery of his art. By stretching the depth of the field, he invites the viewer to immerse themselves between two diagonals lines that offer a passage. A protective walkway framed by stays and covered by a canopy. Converging lines infinitely meeting those on the ground, at a point located at the center of the composition.
Other compositions, The Square Courtyard of the Louvre, The Louvre, The Map or Abandoned Convent 3 and 4, are built on two reciprocal diagonals; whose lines of flight intersect to create a strong central point. He emphasises a ray of sunlight, in the 20th century style of glass penetration, in the heart of the stone in the Napoleon courtyard of the Louvre (19th century).
The black and white, contrasting greatly, reinforces the original arrangement of lines and composition, emphasising the perspective. Thanks to this technique and a highly refined style, Christian Aussillou brings to life deserted monuments and allows their souls to speak.
Purity, he also plays with in order to create an effect op'art as in The Vero-Dodat Gallery or The Louis Vuitton Foundation, The Woman with the Bag.
It allows him to perform wonders: The Staircase of the Sagra Familia is transformed into a kind of snail shell, the Butterfly Foundation Louis Vuitton and The Helical Garage - ordinary constructions if any - take the shape of the Chambord staircase and the light of a cathedral. Like a poet, Christian Aussillou particularly appreciates the night, which reveals the deserted places in all their architectural purity, their size and their iciness.
He still manages to surprise us with famously renowned monuments: the Louvre, the Louis Vuitton Foundation, the Brooklyn Bridge, the Sagra Familia and even the Arc de Triomphe or the Eiffel Tower. Customarily fine and slender, pointing towards the sky, he presents it to us as massive, compact, inverted and stunning. Abolishing the border between painting and photography, this aesthete bestows on us an elaborate and poetic vision of the world by boosting it’s soul.
An artist's vision...