Stéphane Couturier

Les Nouveaux Constructeurs, Sète – Pont Sadi-Carnot n°9 – Stéphane Couturier

2018

Stéphane COUTURIER (*1957, France) Les Nouveaux Constructeurs, Sète Sadi Carnot-01, 2018 Cibachrome Sheet: 59 x 70 cm (23 1/4 x 27 1/2 in.) Frame: 63 x 74 x 4 cm (24 3/4 x 29 1/8 x 1...

Stéphane COUTURIER (*1957, France) Les Nouveaux Constructeurs, Sète Sadi Carnot-10, 2018 Cibachrome, 2018 Sheet: 65 x 48 cm (25 5/8 x 18 7/8 in.) Fram: 69 x 52 x 4 cm (27 1/8 x 20 1/...

Stéphane COUTURIER (*1957, France) Les Nouveaux Constructeurs, Sète – Port n°2, 2018 Cibachrome, framed to artist's specification 69 x 52 cm (27 1/8 x 20 1/2 in.) Edition of 4; Ed. n...

Stéphane COUTURIER (*1957, France) Les Nouveaux Constructeurs, Sète – Port n°3, 2018 Cibachrome, framed to artist's specification 69 x 52 cm (27 1/8 x 20 1/2 in.) Edition of 4; Ed. no. 2/4 Framed Born in 1957 in Neuilly sur Seine, Stéphane Couturier currently lives and works in Paris. In 1994, Stéphane Couturier showed his first works in a series called 'Urban Archaeology', viewing the city as a living organism with multiple aspects. He photographed it deliberately avoiding anything that suggested poetry, nostalgia or strangeness. From 1999 on, Stéphane Couturier was increasingly drawn to suburbs and began to focus on a different type of landscape: on the one hand, by tackling housing blocks and high-rises in his 'Monuments' series; on the other, by photographing mushrooming housing developments.These generic cities soon became his favorite subject. – Les Nouveaux Constructeurs At the invitation of Julie Gutierrez, curator of the Musée Fernand Léger in Biot (France), Stéphane Couturier intensively studied the work of Fernand Léger, one of the Master of Modern painting in France in the early 20th century. Léger paid particular attention to the upheavals of his time. Alongside the city, the transformation of man through machine and mass production was the central theme of his works, which, starting from the formal experiments of the Cubists, found their own artistic expression, combining Cubist avant-garde with Communist commitment. ‘I have become aware of the many elements that bring me closer to him - his fascination for the city, for industrial elements, for architecture, for the geometry of forms...’, comments Stéphane Couturier on his examination of Léger's work. When photographs of cityscapes and industrial architecture are combined with the painter's compositions, the principle of superimposing two images, which the photographer has developed into an essential element of his art in recent years, is taken to a new level. The encounter of two different and yet closely related, because architectural structures, leads to works that are both painterly photographs and photographic paintings. Constructively and constructively, these works depict the reality as seen, yet go beyond the merely visible. Not images, but pictures that have their own reality. Photographed as cibachromes and fitted into a black object...

Puente en colores 1, 2017 Digital photography printed on Hahnemuhle paper 17.91h x 25.51w in Edition 3/5 Using photography as the starting point, Viviana Zargón constructs a pictorial universe of industrial imagination. In an exploration of abandoned empty spaces, Zargón portrays an exhaustion of hope as she incorporates traces of manufacturing artifacts from the Industrial era. Through the medium of photography and painting, Zargón creates a semantic configuration of reality as she reflects on the relationship between production, work, and social progress to greater understand the present. Vivana Zargon was born in Buenos Aires in 1958. She Studied at the University of Barcelona, School of Fine Arts and was awarded the annual scholarship from Government of Catalunya, Spain given to young artists. She has been the subject of several solo exhibitions including : Galería Ruth Benzacar (Buenos Aires, 1985); Galería Julia Lublin (Buenos Aires, 1993); Brazil Art Space (Houston, Texas, USA , 1995); Galleria Banchi Nuovi (Roma, Italia, 1996); Filo Espacio de Arte (Buenos Aires, 1997); Sicardi Sanders Gallery (Houston, Texas, USA, 1998); Centro Cultural Borges (Buenos Aires, 1998); Galería Arteconsult (Panamá, 2005, 2009, 2012); Museo Calderon Guardia (San Jose de Costa...

Using photography as the starting point, Viviana Zargón constructs a pictorial universe of industrial imagination. In an exploration of abandoned empty spaces, Zargón portrays an exh...

The production of sea salt is one of the oldest forms of human intervention in natural spaces. Sea salt comes from natural evaporation of seawater out of artificial created ponds. Th...

Artwork is Lambda c-printed mounted on Dibond. Ready to hang. Museum quality. Limited Edition 8 plus 2 AP's. Artwork comes with an international certificate of authenticity, signed...