Born in 1981. After studies in the applied arts and multimedia, Amélie Landry mainly worked as an independent in computer graphics in Brussels, where she lived.
In 2011, she decided to put this activity aside to develop her first photographic project, The Wayward Paths, which she is presenting in January 2017, as a book (Le Bec en l'air Editions), a radio production on France Culture and an exhibition at Galerie VU'.
Cruising sites can be found everywhere but not just anywhere. Once located in the heart of urban centres, today they are nearly exclusively located on the city limits or outside of cities: disused industrials zones, scrublands, motorway rest areas, and coastal dunes... Autonomous and free spaces, their exact location escapes the consciousness of the non-initiated.
The Wayward Paths is an exploration of these sites of freedom where, despite the fear of police raids or gangs, despite threats of administrative closure, desires for free experiences between men of all ages and from all walks of life continue to be exercised.
Distancing itself from the sensationalism that could be involved...
Cruising sites can be found everywhere but not just anywhere. Once located in the heart of urban centres, today they are nearly exclusively located on the city limits or outside of cities: disused industrials zones, scrublands, motorway rest areas, and coastal dunes... Autonomous and free spaces, their exact location escapes the consciousness of the non-initiated.
The Wayward Paths is an exploration of these sites of freedom where, despite the fear of police raids or gangs, despite threats of administrative closure, desires for free experiences between men of all ages and from all walks of life continue to be exercised. Text by: Laurent Gaissad & Mathieu Riboulet Publisher: Le Bec en l'air Editions (2016) 184 pages Size: 16,2 x 22,5 cm
Des paysages d’Europe Occidentale. Des causses, des étangs, des dunes littorales, des sous-bois, des buis, des graminées. Une nature qui semble avoir repris le dessus sur une civilisation détournée ou réfutée que rappellent un blockhaus, une centrale hydroélectrique, une usine sidérurgique ou un réservoir d’eau. Les paysages photographiés par Amélie Landry s’offrent comme des alentours. Nous ne les pénétrerons donc pas, sauf à halluciner. Irisés par des sources lumineuses nocturnes ou pris dans un soleil aveugle, ces alentours abritent des corps troublants. Evanescents, nus, la peau livide,...
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