Riva degli Schiavonni, Venise, 1992-1999 © Jean Noël de Soye
TITLE_NAME :
Jean Noël de Soye: Venise
25/01/2018 - 03/03/2018
IN CAMERA
21 rue Las Cases
75007 Paris
www.incamera.fr
With around twenty black and white photographs, and a few color ones, Jean Noël de Soye recounts his journeys to Venice, from 1992 to 1999, progressing with the undulations of the Grand Canal, the passing shadows and the smiles of bashful lovers.
Some nights, Jean Noël de Soye slips into Venice’s misty maze as in a sleeping wood. The entire city is a treasure of fleeting lights. Everything is available for him to take. He wanders. He “discretely” walks and waits “sometimes for a long time, for people to come”. And they do eventually appear, under the moon, fortunate coincidence, good presage. Yet he doesn’t mean to share something with them, or to stage them as Cinecittà would. They are strangers who “play, without knowing it, their own role in this grandiose scenery, the palaces, the marble, the columns, the lion, the undulations of the Grand Canal, the countless bridges, the squares, the flower mosaics...”
And himself? Why was he there? “I wanted to tackle a cliché”, he answers today, after around twenty trips to the heart of the Serenissima, between 1992 and 1999. He chose black and white, “more graphic than color, while still mysterious, as if the final image was asking a question instead of venturing an answer. Black and white allows a transposition of reality that perfectly corresponds to how I feel, to what I want to express. I like its timeless and poetic character.”
25/01/2018 - 03/03/2018
IN CAMERA
21 rue Las Cases
75007 Paris
www.incamera.fr
With around twenty black and white photographs, and a few color ones, Jean Noël de Soye recounts his journeys to Venice, from 1992 to 1999, progressing with the undulations of the Grand Canal, the passing shadows and the smiles of bashful lovers.
Some nights, Jean Noël de Soye slips into Venice’s misty maze as in a sleeping wood. The entire city is a treasure of fleeting lights. Everything is available for him to take. He wanders. He “discretely” walks and waits “sometimes for a long time, for people to come”. And they do eventually appear, under the moon, fortunate coincidence, good presage. Yet he doesn’t mean to share something with them, or to stage them as Cinecittà would. They are strangers who “play, without knowing it, their own role in this grandiose scenery, the palaces, the marble, the columns, the lion, the undulations of the Grand Canal, the countless bridges, the squares, the flower mosaics...”
And himself? Why was he there? “I wanted to tackle a cliché”, he answers today, after around twenty trips to the heart of the Serenissima, between 1992 and 1999. He chose black and white, “more graphic than color, while still mysterious, as if the final image was asking a question instead of venturing an answer. Black and white allows a transposition of reality that perfectly corresponds to how I feel, to what I want to express. I like its timeless and poetic character.”