Victoria Ahrens / Laure Tiberghien
Victoria AHRENS Born in 1972, lived in Argentina from 1973 to 1991. Lives and works in London.
Ph.D. in Photographic Practice at Birkbeck College, London, MA in Engraving at Camberwell College of Art.
She creates photogravures and hybrid photographic sculptures with marginal spaces, where myth, history and memory intertwine.
El Lugar Perfecto (The perfect place), printed photograph, 300 cm x 350 cm, projection, fragments and collages, 200 cm x 70 cm, engravings, photo montages.
Working in the translation of analogue films in the form of hybrid digital practices, Victoria Ahrens is interested in questions related to the materiality of photographic fragments. In the project El Lugar Perfecto, these photographic pieces evoke our relationship with sublime landscapes (the Altiplano of the Andes, or the Parana River for example). We most often see these landscapes through screens. But the artist re-imagines these photographic spaces in such a way that a new narration can emerge. These photographs question the limits of digital and the loss of information that induce the entropy and pixelation of images.
Laure TIBERGHIEN Born in 1992.Vit in Paris and works on Ile Saint Denis.
Graduated from the Beaux-Arts de Paris.
Laure Tiberghien explores the limits of the photographic medium by questioning its two fundamental elements, light and time. It also works the moving image in correlation with the still image.
Twins, gelatin silver print, frame.
spheres, color prints, frame.
# 14 Filters, color print.
SM, set of metallized chromogenic papers.
After becoming interested in photography in a fairly classical way, I was more and more intrigued by what it was specifically radical in my eyes, namely by what makes it very literally a writing of light. This reflection was accompanied by a work on what is meant by "abstraction" and "subject" in photography.
Abstraction can be conceived as the correlate of pure light, pre-existing to all representations, to all signs and to all figures. Hence, in my opinion, the importance of distinguishing the image from the subject. The evocation of a subject, familiar in photography in general, which may have corresponded to some of my early works, has given way today to the recording of light itself, and it is in this sense that I now produce images without subjects.