Serge Picard explores the various technical possibilities and limits of photogaphy: its production, its time, its decomposition, its space, and its eternalisation of faces. Easily transitioning from portrait to landscape, from nude to material studies, from colour to black and white, from Fresson printing to Polaroid negative, he treats his subjects with an endless depth, only wanting to better understand photography itself.
Serge Picard's serie on South Korea is about a wandering through a country somewhat enigmatic. If it embodies today maybe more than the others, an extreme modernity, it doesn't mean it has lost its traditions. Among the abundance of Seoul's skyscrapers, Serge Picard is actually looking for its marks in order to show this intriguing cohabitation.
After having photographied the city, Serge Picard linger more in deserted places, parks where temples and strange statuettes raise. He also explore the DMZ (demilitarized zone which divide South Korea from North Korea) to grab the special atmosphere of a no-man's land where time and space seems to be frozen.
Landscapes from the "Edges of the world", between the land and sea which they explore, could have been realized with a calotype by a contemporary photographer of Gustave Le Gray. But it has been realized nowadays, with their fine greys, stability of the space always shut in a closed frame, organized auround the skyline in the perfect rules of classic composition. Those landscapes push us at the limit of romanticism, in a slow and heavy time, only animated by winter lights.
Serge Picard's photographs are illustrating Nathalie Papin's text...like Nathalie's Papin's text is illustrating Serge Picard's photographs. In these pictures, we found a research work on the photographic aesthetic : bodies are material at the disposal of the author...a bit like words are the first material for writing.
Â«Serge Picard doesnâ€™t stop, in his works order as well as in his research, questioning the realism in photography, interrogating a mode of representation inevitably dependent on the reality that faces him and to confront the technical details for what they allow him to approach the nature of the silver print. It is very strictly that he determines the types of prints adapted to each of the approaches to obtain the most just expression.Â»
The tray that shelters the Parisian museum, wanted by president Pompidou, was a hot issue when built at the end of the years seventies. Serge Picard walks along with his camera, making little difference between the exhibited artworks and the architecture of Renzo Piano and richard Rogers... between the centre itself and the people that are going there.
Three-week residency in the region of Niolu high mountain region where the highest peaks.
Rain, wind, fog ... the shutters are closed.
\"It is not because you see anyone that nobody sees you,\" a Corsican friend had told me.
The portraits, Face-to-face, often on order, with great figures of music are beyond today by the complete lack of story in the confrontation. This is because a purely photographic time is at work in Serge Picard\'s work that his images remain mysterious, enigmatic, and they capture the gaze in order to lead it to lose themselves in memories of childhood, between bliss and nightmare possible.
Serge Picard explores through many technical approaches, the potential and limitations of photography, its production time, the decomposition of space, its perpetuation. From portraits to landscapes, from nudes to materials study , from color to black and white, from the Fresson prints to Polaroid,he treats its objects in depth. Whatever his approach, formal or thematic, his images are indatables and remain mysterious and enigmatic. It captures the eye to bring it to get lost between memories and imagination, absolute happiness and possible nightmare.
Represented by the agency and the...