[Summer 1997] Alain Laframboise’s photographic stillevens are imbued with the specific rhetoric of the hyper-codified genre that is still-life: the deliberate placement of inanimate and enigmatic objects; directional, dramatic, theatrical illumination (chiaroscuro); flat, shallow background against which the objects are projected; striking trompe-l’œil effect (which photography does well); hidden symbolic content that invites reflection on […]