My approach is in a spirit of “straight photography”, direct and spontaneous, never staged or cropped, letting imperfections exist as the movement of life. I act by sampling bits of reality, in a form of “aesthetics of banality”, while taking care of the composition and framing under the influence of inspiration. The articulation and dialogue between the images constitute a personal vision of the world, where subjectivity is king.

 

Éole souffle sur l’Océan,

photographie, ed de 10 ex, 100 x 120 cm

2500 euros

Jésus marche sur les eaux du lac de Tibériade

sur les traces de Jésus De Nazareth

Tirage jet d’encre, ed de 5, 100 x 100 cm

2200 euros

L’armée d’occupation, Tel Aviv

Sur les traces de Jésus De Nazareth

Tirage jet d’encre, ed de 5,

23 x 23 cm : 650 euros

80 x 80 cm : 1800 euros

60 x 80 cm : 1600 euros

 

 

Le bon berger, Sur les traces de Jésus De Nazareth

Tirage jet d’encre, ed. de 5

23 x 23 cm : 650 euros

80 x 80 cm : 1800 euros

60 x 80 cm : 1600 euros

 

Les colonies du désert

Sur les traces de Jésus De Nazareth

Tirage jet d’encre, ed. de 5

23 x 23 cm : 650 euros

80 x 80 cm : 1800 euros

60 x 80 cm : 1600 euros

 

Tel Aviv, aime ton prochain comme toi même

Sur les traces de Jésus De Nazareth

Tirage jet d’encre, ed de 5

23 x 23 cm : 650 euros

80 x 80 cm : 1800 euros

60 x 80 cm : 1600 euros

 

Jésus, la crèche, et l’Âne de

Sur les traces de Jésus De Nazareth

Tirage jet d’encre, ed de 5

23 x 23 cm : 650 euros

80 x 80 cm : 1800 euros

60 x 80 cm : 1600 euros

 

Sur la route de Boca da Roca

Le voyage de Portugal 2009 2016

Tirage Fine art, ed de 5

prix selon dimensions

 

 

les pavés du Mozambique

Le voyage de Portugal 2009 2016

Tirage Fine art, ed de 5

80 x 80 cm : 1600 euros

 

La Boca da Roca, Le voyage de Portugal 2009 2016

Tirage Fine art, ed. de 5, dimensions variables,  prix en fonction 

 

 

Praça de Restauradores, Le voyage de Portugal 2009 2016

j’aurais vu ce que d’autres yeux ont vu

Tirage Fine art, ed. de 5

70 x 70 cm : 1400 euros

 

Port de Gênes, Le voyage de Portugal 2009 2016

j’aurais vu ce que d’autres yeux ont vu

Tirage Fine art, ed de 5

65 x 90 cm : 1500 euros

Lisboa, Citta della telleranza

Le voyage de Portugal 2009 2016

j’aurais vu ce que d’autres yeux ont vu

Tirage Fine art, ed de 5

100 x 100 cm : 2000 euros 

 

Le départ, La messa à Fatima,

Le voyage de Portugal 2009 2016

j’aurais vu ce que d’autres yeux ont vu

Tirage Fine art, ed de 5

110 x 90 cm : 2000 euros

L’arrivée sur le Tage, Le voyage de Portugal 2009 2016

j’aurais vu ce que d’autres yeux ont vu

photographie argentique, ed de 5

100 x 100 cm : 2000 euros

assurance publique, Caïxa général de deposito

Le voyage de Portugal 2009 2016

j’aurais vu ce que d’autres yeux ont vu

photographie argentique, ed de 5, dimensions variables, prix en fonction 

 

Conquistador, Le voyage de Portugal 2009 2016

j’aurais vu ce que d’autres yeux ont vu

photographie argentique, ed de 5

110 x 90 cm : 2000 euros

 

Saint Petersbourg, les nuits blanches, 2014

j’aurais vu ce que d’autres yeux ont vu

tirage fine art ed de 5

40 x 40 cm : 1100 euros

Van Gogh, 2013

j’aurais vu ce que d’autres yeux ont vu

photographie argentique, ed de 5

60 x 60 cm : 1500 euros

40 x 40 cm : 1100 euros

 

Camus, 2013

j’aurais vu ce que d’autres yeux ont vu

photographie argentique, ed de 5

70 x 70 cm : 1800 euros

 

Rimbaud, 2012

j’aurais vu ce que d’autres yeux ont vu

photographie argentique, ed de 5

 

La chambre de Joyce

j’aurais vu ce que d’autres yeux ont vu

photographie argentique, ed de 5

40 x 50 cm: 1300 euros

Montagnola, Sur les traces d’Hermann Hesse, 2013

j’aurais vu ce que d’autres yeux ont vu

photographie argentique, ed de 5

80 x 80 cm: 1800 euros

 

 

Sur les traces de Garcia Lorca, 2012

j’aurais vu ce que d’autres yeux ont vu

photographie argentique, ed de 5

40 x 60 cm : 1300 euros

 

 

Sur les traces de Blaise Cendrars, les Pâques à NY

j’aurais vu ce que d’autres yeux ont vu

photographie argentique, ed de 5, dimensions variables

Prix en fonction

 

 

Sur les traces de Dostoievsky, musée de l’Hermitage, 2014

j’aurais vu ce que d’autres yeux ont vu

photographie argentique, ed de 5, dimensions

variables, prix en fonction 

 

Sur les traces du 3ème  Reich, Dachau, devant le crématorium

j’aurais vu ce que d’autres yeux ont vu

photographie argentique, ed de 5, dimensions

variables, prix en fonction 

 

 

La chemise de Van Gogh

j’aurais vu ce que d’autres yeux ont vu

photographie argentique, ed de 5, dimensions variables, prix en fonction 

 

Calenzana , ancêtres

Lumière d’août : récits de Corse, 1998-2006

Extrait d’un ensemble photographique

Argentique, N&B, couleur, dimensions variable

prix en fonction 

Col de Palmarella

Lumière d’août : récits de Corse, 1998-2006

Extrait d’un ensemble photographique
Argentique, N&B, couleur, dimensions variable

prix en fonction 

Balagne, Lumière d’août : récits de Corse, 1998-2006

Extrait d’un ensemble photographique
Argentique, N&B, couleur, dimensions variable

prix en fonction 

Erbalunga

Lumière d’août : récits de Corse, 1998-2006

Extrait d’un ensemble photographique
Argentique, N&B, couleur, dimensions variable

prix en fonction 

Route de Fangu, Paglia Orba

Lumière d’août : récits de Corse, 1998-2006

Extrait d’un ensemble photographique
Argentique, N&B, couleur, dimensions variable

prix en fonction 

 

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My work is presented from three main angles:- Silence and oblivion brings together my work from 1973 to 1999, constituting a kind of introduction to the other two aspects:- I would have seen what other eyes have seen, related to interiority and subjectivity, with the ambition of returning to the places of these great dwellers, writers or artists, who influenced me and left their mark on our culture. – The world as it is, together “outside” with the somewhat ironic title, having the will to describe the world around us. At the same time, the series Today and forever, l’esprit des villes is deployed as a conservation of the memory of urban landscapes, lived or crossed, the theme of the Lyon septembre festival of photography of which I was the curator in 2004. The way back, in 2016, returns in the footsteps of the Sioux of the Middle West of the United States. Gilles Verneret

 

My work is presented from three main angles:- Silence and oblivion brings together my work from 1973 to 1999, constituting a kind of introduction to the other two aspects:- I would have seen what other eyes have seen, related to interiority and subjectivity, with the ambition of returning to the places of these great dwellers, writers or artists, who influenced me and left their mark on our culture. – The world as it is, together “outside” with the somewhat ironic title, having the will to describe the world around us. At the same time, the series Today and forever, l’esprit des villes is deployed as a conservation of the memory of urban landscapes, lived or crossed, the theme of the Lyon septembre festival of photography of which I was the curator in 2004. The way back, in 2016, returns in the footsteps of the Sioux of the Middle West of the United States, Gilles Verneret.

 

Outside the walls > A48

Gilles verneret

Photosapiens

08 avril > 26 mars 2008

Outside the walls > A48

Gilles verneret

Photosapiens

08 avril > 26 mars 2008

> Montée Allouche

Gilles Verneret

Lumières d’août

été 2007

These photographs were taken between 1998 and 2005 in the Balagne region and on the road leading from Galéria to Calvi, a road that I use regularly. I have been photographing Corsican landscapes since 1979, the first year I landed in Ajaccio. Then, I took root in the small summer port of Galéria, where I made my nest in 2005 and where I have been coming regularly since then. Corsica is a bit like my second homeland, my land of welcome. The locals have made my integration easier, even if I remain a “man of the continent, a pinnacle! To be Corsican, you have to be born there and here you are Corsican at the same time as you are French. So I was happy when a patriarch of the country said to me when I settled down: “now you are a galley slave”; that’s to say how much I am attached to the region, as well as to the galleys and galleries! This very strong sense of identity of the island’s inhabitants certainly explains in part the preservation of the landscapes.

> Montée Allouche

Gilles Verneret

Lumières d’août

été 2007

These photographs were taken between 1998 and 2005 in the Balagne region and on the road leading from Galéria to Calvi, a road that I use regularly. I have been photographing Corsican landscapes since 1979, the first year I landed in Ajaccio. Then, I took root in the small summer port of Galéria, where I made my nest in 2005 and where I have been coming regularly since then. Corsica is a bit like my second homeland, my land of welcome. The locals have made my integration easier, even if I remain a “man of the continent, a pinnacle! To be Corsican, you have to be born there and here you are Corsican at the same time as you are French. So I was happy when a patriarch of the country said to me when I settled down: “now you are a galley slave”; that’s to say how much I am attached to the region, as well as to the galleys and galleries! This very strong sense of identity of the island’s inhabitants certainly explains in part the preservation of the landscapes.

> Montée Allouche

Gilles Verneret

Lumières d’août

été 2007

These photographs were taken between 1998 and 2005 in the Balagne region and on the road leading from Galéria to Calvi, a road that I use regularly. I have been photographing Corsican landscapes since 1979, the first year I landed in Ajaccio. Then, I took root in the small summer port of Galéria, where I made my nest in 2005 and where I have been coming regularly since then. Corsica is a bit like my second homeland, my land of welcome. The locals have made my integration easier, even if I remain a “man of the continent, a pinnacle! To be Corsican, you have to be born there and here you are Corsican at the same time as you are French. So I was happy when a patriarch of the country said to me when I settled down: “now you are a galley slave”; that’s to say how much I am attached to the region, as well as to the galleys and galleries! This very strong sense of identity of the island’s inhabitants certainly explains in part the preservation of the landscapes.

> Montée Allouche

Gilles Verneret

Lumières d’août

été 2007

These photographs were taken between 1998 and 2005 in the Balagne region and on the road leading from Galéria to Calvi, a road that I use regularly. I have been photographing Corsican landscapes since 1979, the first year I landed in Ajaccio. Then, I took root in the small summer port of Galéria, where I made my nest in 2005 and where I have been coming regularly since then. Corsica is a bit like my second homeland, my land of welcome. The locals have made my integration easier, even if I remain a “man of the continent, a pinnacle! To be Corsican, you have to be born there and here you are Corsican at the same time as you are French. So I was happy when a patriarch of the country said to me when I settled down: “now you are a galley slave”; that’s to say how much I am attached to the region, as well as to the galleys and galleries! This very strong sense of identity of the island’s inhabitants certainly explains in part the preservation of the landscapes.

> Montée Allouche

Gilles Verneret

Lumières d’août

été 2007

These photographs were taken between 1998 and 2005 in the Balagne region and on the road leading from Galéria to Calvi, a road that I use regularly. I have been photographing Corsican landscapes since 1979, the first year I landed in Ajaccio. Then, I took root in the small summer port of Galéria, where I made my nest in 2005 and where I have been coming regularly since then. Corsica is a bit like my second homeland, my land of welcome. The locals have made my integration easier, even if I remain a “man of the continent, a pinnacle! To be Corsican, you have to be born there and here you are Corsican at the same time as you are French. So I was happy when a patriarch of the country said to me when I settled down: “now you are a galley slave”; that’s to say how much I am attached to the region, as well as to the galleys and galleries! This very strong sense of identity of the island’s inhabitants certainly explains in part the preservation of the landscapes.

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