[Fall 2006]
Matthieu Brouillard, Marcheur, 2005, 140 x 109 cm, tirages numériques lambda. © Matthieu Brouillard
Matthieu Brouillard, Homme dans une chambre avec témoin, 2005, 140 x 110 cm, tirages numériques lambda. © Matthieu Brouillard
Matthieu Brouillard, Trois pensionnaires dans une salle de séjour, 2005, 122 x 153 cm, tirages numériques lambda. © Matthieu Brouillard
Matthieu Brouillard, Klepp, 2006, 152 x 112 cm, tirages numériques lambda. © Matthieu Brouillard
Matthieu Brouillard, Un soldat tombant (d’après La résurrection de Grünewald), 2005, 140 x 108 cm, 2005, tirages numériques lambda. © Matthieu Brouillard
Abstract
With the real artificiality, the true “falseness,” of his images, Matthieu Brouillard eloquently captures the imagination while deflecting the spectator’s regard toward what must be called a reflection on the very essence of photography. His large photos seem to combine what is held out as realistic reporting with a playful staging that refutes this evidence by producing at the same time a “play within a play” of photography and its history.