Friday, June 15, 2007
Jean-François Rauzier - The Image Is In The Details
Jean-François Rauzier's Hyper-photo composites are extraordinary in size, in vision and particularly in detail.
"On Time,” Jean-François Rauzier's gargantuan 32-by-66-foot panorama composed of several hundred seamless images of clocks, cliffs, buildings and ocean, is emblematic of the hours upon hours Rauzier spends to capture, compose and edit each of his Hyper-photo dreamscapes. In the photo, a man in black stands alone amidst a beach comprised entirely of clocks, thousands and thousands of clocks.
The surrealist aesthetic of the image is interesting in itself. But the truly amazing quality of the photograph lies in the hyper-realistic detail of it. The faces of the clocks, and there seems to be miles of them, can each be read as if directly in front of you. It's like staring into a finely detailed world that can never blur.
“I agree that it may sound crazy,” Rauzier explains when asked why he spends the inordinate time it takes to manufacture only a single Hyper-photo image, “but I've been a photographer, painter and sculptor for 30 years, exploring these different techniques of expression up until 2001. At that time, I began my Hyper-photo work and I haven't needed to do anything else. I'm entirely satisfied. As a photographer, I can use this powerful art medium to capture reality. As a painter, I can control my image exactly and put what I want where I want. And as a sculptor, I savor spending a long time on my work, as a meditation, to have the pleasure to approach, touch and feel the texture, then back away to see the entire work. Hyper-photo is a combination of all of these.”
Each image that Rauzier assembles is a collage of between 600 to 1,000 individual close-up images, each taken one by one, using a telephoto lens over a period of one to two hours. Once the entire scene is captured, Rauzier stitches them together using Photoshop, working obsessively until the naked eye can't discern where each piece of the image begins or ends.
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