Femmes, Photography

We already knew Titouan Lamazou the navigator, the illustrator appreciated for his travel sketchbooks; now he’s become an outstanding photographer, one with energy and the force of conviction. He’s taken off on this path without worrying about theories, by picking out the best elements to use as he pleases. He’s done what it takes to “live outside himself,” to learn from others and from his discoveries. Lamazou’s monumental photographs are framed like paintings. Their material presence, on or in front of walls, puts them forward on a human scale, in detail. Autonomous, refined, precise – giddily so –, the construction of a panoramic shot by Lamazou is guided by a fatal to-and-fro between painting and photography.

In his own way, the artist reconciles the instant and duration, representing two timeframes. He combines aesthetic pleasure, a search for beauty, and euphoria over semantics, over meaning. The stitches holding the work together often escape the gaze – hence resulting in a general sense of unity. Lamazou photographs the world as a painter. The world as a stage: from the artifice of beings and the objects he captures, the artist attains a reality principle. His sincerity.