|
I
have the feeling that a split takes place for some years within
what we called " the creative photography ", "
the photography of creation ", " the photographic art
" or I do not know which other naming. Finally generally
speaking among the works of the artists photographers, of those
who aspired to the creation and not to the illustration.
The history of the photography was already the object of several
references. We know its course - its big stages and its main
actors. Today, as of all time and about is the field of investigation,
there are researchers and followers. The followers would be the
lovers of the argentic image, mostly in N/B, spreading of admiration
for the depth of the blacks and the subtleties of the halftones,
taking back techniques tried by the great masters, even the ancient
processes such the edition in the platinum, the bichromatée
gum, etc.... These followers are so fascinated by their technique
which they confuse to know how to make and creation. Maybe have
- they simply nothing else to say...
The researchers, them, know possibly the wealth of the photographic
technique and know how to use it, but can also ignore it, contenting
with creating their universe, leaving with laboratories the care
of realizing the tests in adequacy with their imagination.
I do not want to concern of judgment such or such practice, but
I ask the question of the continuation of the history of the
photography. This one reached the adulthood and joins the other
tools of the creation. The history of the photography would become
the equivalent of a history of the watercolor, of the engraving
or the fresco...
It would have believed a moment in a kind of independence and
today, would come to join the art history. We are thus for the
very rich period, when the photography becomes a current, widely
used space of creation and which knew how to forget - its affectations,
even if they are still often practised. To us to make the sorting
in these excess numerous propositions.
Marie-Hélène
Le Ny uses the photography, but I do not believe that photographer's
naming suits her necessarily. She is no doubt towards the researchers.
She studied in the School of Fine Arts of Rouen and learnt that
is a plastic research. The contact of the artists and their works
put her to listen the creation. She is also sensitive to the
evolutions and to the problems of our time, attentive to the
modifications of human relationships and to the preservation
of their quality. What is remarkable in each of the works, it
is that it knew always how to make the synthesis of all these
elements, to obtain a strong work plastically, aesthetically
and humanely.
I shall call back the previous series on Family portraits, the
City of refuge of the Salvation Army and finally Memory of future,
remarkable work on the region the North - Pas-de-Calais, its
history and its people. All these works elaborating with human
contacts, exchanges, and ending in a very thoughtful and worked
shaping.
With his last series My small pieces of madeleines Marie-Hélène
Le Ny bends over her history to make us share his " personal
mythology concerning the smells and the flavours ". Short
texts send back to us to our own memories, to all that can convey
food as attractions or aversion.
Associations with the images are particularly made a success
thanks to a schematized representation. (Objects nevertheless
very realistic are only suggested by a frontal view, as a view
of the top of our plate.) we are far from the advertising photography,
the set texts-images very graphic joining to give a well-balanced
global image. Colors come to be added to the olfactive and gustative
evocations in a very homogeneous set where forms, colors and
texts send back to us to our childhood memories, which are sometimes
still very lively, and to which is added today an evident visual
pleasure.
Jean-Pierre
LAMBERT |
