{"id":254893,"date":"2017-11-03T12:00:08","date_gmt":"2017-11-03T16:00:08","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=254893"},"modified":"2021-12-15T07:47:17","modified_gmt":"2021-12-15T12:47:17","slug":"jean-francois-rauzier","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/jean-francois-rauzier\/","title":{"rendered":"Jean-Fran\u00e7ois Rauzier Creates Alternate Realities with His “Hyperphotos”"},"content":{"rendered":"
\"\"

Cuba<\/i>, 2017<\/i><\/p><\/div>\n

In 1972, while Jean-Francois Rauzier<\/a> was a young man of 20 just finding his way in the world, he helped his uncle, a part-time photographer, develop black-and-white film in the darkroom. \u201cWhen I saw the image emerge, it was like magic,\u201d he recalls. \u201cYet it also rendered reality. I was hooked.\u201d He went off to study at the Ecole Nationale Sup\u00e9rieure Louis-Lumi\u00e8re and for nearly 30 years enjoyed a successful career as a commercial photographer.<\/p>\n

All the while, Rauzier was also working on more personal photographic expressions. Yet he didn\u2019t make a true artistic breakthrough until 1998, when traveling in Tuscany. The landscape enthralled him. \u201cThe vistas were so wide!\u201d he exclaims. \u201cI thought they were fabulous.\u201d<\/p>\n

They were, in fact, so expansive he couldn\u2019t capture them as he wanted with a wide-angle lens. So Rauzier, inspired by David Hockney<\/a>\u2019s composite photographs, began shooting multiple pictures of the rolling hills and fields to a form a panoramic image. After successfully stitching the vista together digitally, he thought, Why not use two or three lines of images to expand the view?<\/p>\n

Those experiments eventually led to the mosaic-style photographs, composed of up to 3,500 individual images, he now calls \u201chyperphotos.\u201d He produces these works in editions of eight C-Type prints<\/a>, Diasec-mounted on aluminum, with each print featuring a unique detail.<\/p>\n

\"\"

Chicago Veduta – Chicago Magnificent<\/a><\/i>, 2014<\/i><\/p><\/div>\n

The 1990s were a decade when a number of photographers, especially such now-celebrated German lenspersons as Andreas Gursky<\/a>, Thomas Struth and Candida H\u00f6fer<\/a> were exploring the possibilities of digital manipulation in large-scale photography. Through the hyper reality of immense prints, often up to 10 feet wide, they were seeking to reveal the peculiar actualities of our contemporary existence. In the beginning, Rauzier says he was often compared to Gursky. \u201cI love Gursky\u2019s work,\u201d he says, \u201cbut he is very Protestant in his vision, while I am Catholic. I love to put a surrealistic<\/a> slant on my images to show life in all its immense complexity.\u201d<\/p>\n

\u201cHis artistic exploration and vision take the viewer\u2019s impression of what is reality to another level,\u201d says Sandra Waterhouse of Waterhouse Dodd gallery,<\/a> which represents Rauzier in New York and London. When she first saw his work in Paris, she was so taken with it that she sent her Parisian agent on a mission to track him down. \u201cThe traditional purpose of photography<\/a> was to record our memories faster than painters, and with an exact reproduction of scenery and people, as they are made to witness the moment and time,\u201d she says. \u201cRauzier\u2019s creations, by contrast, transform the world according to his dreams, wishes and anxieties, and recreate the magic and secrecy of ancient legends and stories, using 21st-century media.\u201d<\/p>\n

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Cuba, Callejon de Hamel<\/i>, 12017<\/i><\/p><\/div>\n

Urban realms and monumental architecture are continuing sources of inspiration for Rauzier, yet he also draws deeply from the great canon of Western art history and literature. He cites, for example, the post-modernist French novelist Georges Perec as a major influence. The rules-based structure of Perec\u2019s 1978 novel La Vie mode d\u2019emploi (Life a User\u2019s Manual)<\/em>, which explores the lives of the inhabitants of a fictitious Parisian apartment house by moving around the building\u2019s floorplan like the knight on a chessboard, helped Rauzier conceive his stunning 2015 series of transfigured buildings, which he dubbed \u201cBabel.\u201d Two of the images, one of buildings in Paris<\/a> and the other New York, also pay homage to Bruegel\u2019s fabled painting of the biblical tower.<\/p>\n

Travel is central to Rauzier\u2019s creative process. After choosing a destination to serve as the subject of his next project, he reads all he can about the place, but arrives without any notion of what image he\u2019ll create. Instead, he snaps thousands of images of everything he encounters: landscapes, buildings, flora and fauna and whatever else catches his fancy. He shoots from all angles and often as close as possible. \u201cI shoot very fast,\u201d he says. \u201cI don\u2019t really see what I shoot. It\u2019s only later I see and find the picture.\u201d<\/p>\n

When reviewing his cache, he\u2019s often surprised at what most fascinates him. When he visited Los Angeles, it was the \u201cfabulous trees\u201d that most impressed him. \u201cThat\u2019s not what I read about in books,\u201d he explains, laughing. \u201cThat\u2019s why I love photography and this process. You discover things you don\u2019t expect.\u201d<\/p>\n

\"\"

Babel Kircher, New York<\/i>, 2015<\/i><\/p><\/div>\n

Once he \u201csees\u201d what he wants the image to be, he uses software to flatten curved lines and straighten awry perspectives, to duplicate and distort objects and to add elements from his immense stock library. While the process is digital, the resulting image is painterly in its references and subjectivity. As Rauzier has quipped: \u201cIt\u2019s a kind of absolute power over the world!\u201d<\/p>\n

So dense and complicated are some of the prints that new details can be discerned years after a collector has acquired a work. It\u2019s this endless sense of discovery that makes his creations so captivating. See for yourself at \u201cHyperphotos,\u201d Waterhouse Dodd\u2019s pop-up gallery at 1070 Madison Avenue in New York. The show, which runs through November 18, features 26 fantastical works composed of images from New York, Cuba and France, as well as a couple of brilliant renderings of Brasilia in the style of the paintings of Fernand L\u00e9ger<\/a>, who influenced many Brazilian artists.<\/p>\n

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In 1972, while Jean-Francois Rauzier was a young man of 20 just finding his way in the world, he helped his uncle, a part-time photographer, develop black-and-white film in the darkroom. \u201cWhen I saw the image emerge, it was like magic,\u201d he recalls. \u201cYet it also rendered reality. I was hooked.\u201d He went off to 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