Richard Dumas is not a portraitist, but a photographer.
Another Richard (Avedon this one not to name him) was written to be a socialite and a star because he shot celebrities, or that he was a fashion photographer because he spent years to reinvent a way to visually stage rags!
Be rassured, he is simply one of the essential artists of Photography history of the 20th century.
The "Richard Dumas" is immediately recognizable by his elegance, slightly dandy-like, his sense of contrasts both strong and retained, by his pictures out of time which become icons, by the mystery he lets glide in square or rectangle frames full of unexpected vibrations of light.
This refined photography is nourished of litterature, music - from jazz to the merest rock band- and, of course, of cinema, the portuguese one as a preference.
Singer, writer and composer Alain Bashung died at 61, a few days after a big ovation of his peers gathered at the Victoires de la Musique, the French Awards for the music industry.
Richard Dumas is one of the rare photographers to give a series of intimate portraits of the musician.
In Paris, the town of the cinema, Richard Dumas, just like a writer, lets his gaze and his soul roam. Approriating the spirit of La chambre verte, he dialogues with spirit of La chambre verte, he dialogues with his dear departed, like for sure, the couple Straub and Huillet, crossed by chance, as a sign of fate, in the cemetery. A halt in the cemetery over the tomb of François Truffaut which is visited by cats. Jean-Pierre Léaud and a few others play The Four Hundred Blows on Henri Langlois’ tomb. Juliette has found Man Ray. Oscar’s tom his smeared with lipstick. How can you photograph absence ?
It all started in the sue de Seine due to the mineral sensuality of a wasp-waisted sculpture....
12-12-1999, the ship Erika, sailing under the Maltese flag, chartered by Total with 30 900 tonnes of fuel, broke in two parts 70 km south of Penmarc’h (Finistère) : 10 000 to 12 000 tonnes of fuel were spilled into the sea.
11 235 tonnes of fuel were retrieved at the end of the pumping, 20 000 were lost.
400 kms of coast, from Finistère to Vendée, were polluted, causing the death of 80 000 to 150 000 birds.
Editions Filigranes - Text : Philippe Garnier.
A RealDoll only bends when you ask her. She does not splay flat, under the worst exertion. She is heavy, solid, neither hollow or inflatable, but reinforced with steel rods, the flesh made of three kinds of silicon of variable softness. She is washable, and you can take her up every hole. She costs between 5 749 and 6000 dollars. Plus 450 for expedition (800 for international). Pubic hair is p lanted by hand on the Doll, one hair at a time, and you can order her bush either "cropped", shaved or "natural"...
"A RealDoll only bends when you ask her. She does not splay flat, under the worst exertion. She is heavy, solid, neither hollow or inflatable, but
reinforced with steel rods, the flesh made of three kinds of silicon of
variable softness. She is washable, and you can take her up every hole.
She costs between 5 749 and 6000 dollars. Plus 450 for expedition (800 for
international). Pubic hair is p lanted by hand on the Doll, one hair at a
time, and you can order her bush either "cropped", shaved or "natural... " Text by: Philippe Garnier Publisher: Filigranes Éditions (2007) 32 pages Size: 17 x 23 cm ISBN :978-2-35046-103-8
dix-huit ans
Regarder voir.
Comme un paysage de rêve.
On regarde le visage du Suédois Björn Andresen. On le voit bien, le portrait est de face. Ce visage, nous sommes invités à le reconnaître puisque avant d'être travaillé par le temps il fut, lisse et glabre, trente-quatre ans auparavant, le visage de l'adolescent Tadzio, personnage vedette de "Mort à Venise", le film déliquescent de Luchino Visconti. Mais l'on sent à les scruter que ces traits recouvrent quelque chose sur lequel on a moins prise, comme sur un objet placé trop loin pour que nos mains puissent l’atteindre, à peine l’effleurer du bout des doigts. Sans doute parce que l’opération avant-après ne marche pas et qu’on aurait beaucoup de mal à reconstituer l’acropole de la jeunesse en s’appuyant sur sa ruine pétrifiée. Sans parler de la vareuse à col marin et du chapeau Jean Bart, où sont passé les cheveux blonds, longs et bouclés, le teint de lait , le vermillon des lèvres ? Seuls les yeux font le lien, sombres hier, obscurs aujourd’hui. Tristes assurément, comme si l’homme venait de perdre l’adolescent, de mourir à lui même. Mémoire grippée mais qui, du coup, autorise à certain travail de l’imagination sur elle-même. Ce visage est comme un paysage de rêve. Celui d’un homme qui, la nuit sur une route déserte, nous fixe, sans qu’on sache, allant à sa rencontre, s’il sera un ami ou un danger. Mais ce qu’on croit être un souvenir personnel enfoui dans les couches du sommeil est peut-être le fantôme d’un passé encore plus ancien qui nous excède. Le sépia de l’image encourage : apparition mythique, oracle ancestral, shaman éternel. Ce visage de Suède cite celui d’un de ces Indiens d ‘Amérique du Nord photographié au début du XX° siècle par Edward S. Curtis au moment où une civilisation disparaît dans toute sa splendeur, exterminée par l’homme blanc. « C’est un rêve tellement grand que je ne peux l’avoir entier », écrivait Curtis en 1900. On dirait la légende idéale de ce portrait.
Gérard Lefort in Libération du samedi 29 janvier 2005
Text by: Gérard Lefort Publisher: Le Chateau d'Eau (2005) ISBN :2-913241-68-9
Richard Dumas a choisi de présenter 24 images composant une suite, faite de portraits et de quelques paysages. Sa sélection révèle une œuvre intense se construisant au fil des rencontres, nourrie de littérature, de musique et de cinéma. Publisher: Lieux Dits (2003) 64 pages ISBN :2914528019