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L.A Chromos
2012

This is not a variations exercise on the same theme. Obviously, these photographs echo works of Pop Art, silk-screened Andy Warhol’s variations of Hollywood stars’ portraits, Campbell’s Soup cans or bottles of Coca-Cola. Here, however, we’re talking about photography. By questioning the codes present in popular imagery, Guillaume Zuili interrogates our collective memory and its relationship to symbols of American grandeur, by reducing them to variations that seem to go on forever. He also questions the relationship between photography and its reproducibility, its capacity to multiply reality.

When the learned pictorial process of light, colour and matter is schemed and played out in the arcane lab to obtain the invisible and the visible out of a single negative - there lies the talent of an alchemist. It is not so much a demonstration of strength or of apparent control, as it is the tangible proof that the print, as well as being a technique, is certainly an art as it becomes a means for expression.

The photograph runs, overwhelms, ebbs and flows, at times subtle, nuanced or even nearly explosive. Guillaume Zuili covers his tracks, provides as much a feeling of eccentricity as of de-execution. Then, reality reproduced and reduced as such seems mishandled, damaged, exhausted to give way to phantom images, oscillating and residual images, stunning images.

“Art does not reproduce the visible; rather, it makes visible” wrote Paul Klee.

Guillaume Zuili applies this method, a scheme of revelations, of evocation/invocation of a reinvented city, of his memory, his mirages and his symbols. He says so himself: “"I go straight to the symbols and leave reality" .

Caroline Benichou

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