Tag Archives: Fantastical

Laurent Chéhère’s Flying Houses

Inspired by the 1956 short French childrens film Le Ballon Rouge, or The Red Balloon, Laurent Chhres part analog, part digital images of floating houses are at once a charming, imaginative take on Paris, and also a wistful vision of dreams deferred. carrera de fotografia . The work will be shown from Oct. 25 to Dec. 8 at Galerie Paris-Beijing in Paris.

Before transitioning to photography, Chhre was an art director at a French advertising agency. He first saw Le Ballon Rouge when he was young, and upon revisiting it recently, described it as a merveille [wonder] of poetry. In 1960, TIME Magazine named its director, Albert Lamorisse, probably the most original moviemaker in France.

The film stars the directors 6-year-old son Pascal as an inquisitive, adventurous Parisian tot who discovers a bright red balloon in the street one day. Lamorisses Paris is a city drained of color, still suffering from the fallout of the war, populated by stern grownups and bullying children. It is against this surprisingly grim backdrop that our story takes place. The boy discovers that the balloon is not simply a shiny, bouncy thing to be led about on a string but rather a living, expressive, mischievous character unto itself. Without the use of CGI, the director is able to coax an amazing performance out of latex and helium, and the boy and the balloon become fast friends. Ultimately, the adventure story that ensues is an ode to possibility, dreams and escape.

Mary Evans/Ronald GrantEverett Collection

A scene from “The Red Balloon.”

Chhres world has a similar color palette of greys, blues and browns. And it too shares a dose of the fantastical: the main charactersin this case buildings he digitally constructed from architectural details photographed around Parisappear to float in the sky. But something is different. Unlike the playful balloon with its dancing string, these floating objects appear settled, as if stasis has overtaken them and age has crept in.

Notes from workaday life appear throughout the photo seriestelevision antennae, For Sale signs, McDonalds and graffiti. Laundry appears in two of the nine images. Chhre, who turned 40 this year, has replaced the balloons dancing string with electrical wires, which both sustain the houses and also tie them in place. The one exception is a grim, grey-blue brick house with prison-like windows. Here, the wires have snapped, a fire rages in the second story, the inhabitants escape ladder has broken and tumbles out of the frame. Resting by the window, silhouetted by the blaze, is a birdcage, about to be engulfed in flames.

Albert Lamorisse’s film has a happy ending; the ending of Chhres meditation on middle-age life remains uncertain.

Laurent Chhre is a photographer based in Paris. More of his work is available on his website.

Laurent Chéhère’s Flying Houses

Inspired by the 1956 short French childrens film Le Ballon Rouge, or The Red Balloon, Laurent Chhres part analog, part digital images of floating houses are at once a charming, imaginative take on Paris, and also a wistful vision of dreams deferred. The work will be shown from Oct. 25 to Dec. 8 at Galerie Paris-Beijing in Paris.

Before transitioning to photography, Chhre was an art director at a French advertising agency. He first saw Le Ballon Rouge when he was young, and upon revisiting it recently, described it as a merveille [wonder] of poetry. In 1960, TIME Magazine named its director, Albert Lamorisse, probably the most original moviemaker in France.

The film stars the directors 6-year-old son Pascal as an inquisitive, adventurous Parisian tot who discovers a bright red balloon in the street one day. Lamorisses Paris is a city drained of color, still suffering from the fallout of the war, populated by stern grownups and bullying children. It is against this surprisingly grim backdrop that our story takes place. The boy discovers that the balloon is not simply a shiny, bouncy thing to be led about on a string but rather a living, expressive, mischievous character unto itself. Without the use of CGI, the director is able to coax an amazing performance out of latex and helium, and the boy and the balloon become fast friends. Ultimately, the adventure story that ensues is an ode to possibility, dreams and escape.

Mary Evans/Ronald GrantEverett Collection

A scene from “The Red Balloon.”

Chhres world has a similar color palette of greys, blues and browns. And it too shares a dose of the fantastical: the main charactersin this case buildings he digitally constructed from architectural details photographed around Parisappear to float in the sky. But something is different. carrera de fotografia . Unlike the playful balloon with its dancing string, these floating objects appear settled, as if stasis has overtaken them and age has crept in.

Notes from workaday life appear throughout the photo seriestelevision antennae, For Sale signs, McDonalds and graffiti. Laundry appears in two of the nine images. Chhre, who turned 40 this year, has replaced the balloons dancing string with electrical wires, which both sustain the houses and also tie them in place. The one exception is a grim, grey-blue brick house with prison-like windows. Here, the wires have snapped, a fire rages in the second story, the inhabitants escape ladder has broken and tumbles out of the frame. Resting by the window, silhouetted by the blaze, is a birdcage, about to be engulfed in flames.

Albert Lamorisse’s film has a happy ending; the ending of Chhres meditation on middle-age life remains uncertain.

Laurent Chhre is a photographer based in Paris. More of his work is available on his website.

Photographer #423: Kahn & Selesnick

Nicholas Kahn and Richard Selesnick, both 1964, UK, are two photographers / installation artists based in the US who have been working together since 1988. They met at Washington University in St. Louis. In 1995 they started using photography as the way of telling their stories. Together they have created a large number of series that can best be described as “complex narrative photo-novellas.” The fantastical and extremely wide panoramic images are accompanied by texts. They conceive an alternate reality, use costumed actors, construct detailed three-dimensional miniatures and combine all these elements into their compelling and mythical photographs. Even the website takes the viewer on a journey through the world of Kahn and Selesnick. Their work has been released as books on numerous occasions and has been exhibited throughout the world extensively. The following images come from the series Mars: Adrift on the Hourglass Sea, Apollo Prophecies, City of Salt and Scotlandfuturebog.

Website: www.kahnselesnick.com

Photographer #280: Sylwana Zybura

Sylwana Zybura, 1979, Poland, is better known in the photographic community as Madame Peripetie. She works and lives in Germany. She received a B.A. in photography and an M.A. in applied linguistics. She was recently published in the book Geschossen+Gedruckt due to winning the Druckerei Seltmann Werbefotopreis. She won the prestigious advertisement photography prize in the category People / Emotion with images of her Dream Sequence series. Sylwana’s images are surreal, fantastical and often bizarre and imaginative. Her fairy tale photographs are sometimes dark and moody, but others are bright in color and humerous. It is a mix of fashion photography and sculpture, using various fabrics and objects to achieve her end results. She is influenced by surrealism, dadaism, the new wave era of the 80’s, the British post punk scene and the avantgarde theater of Robert Wilson. The following images come from the series Dream Sequence, Pugh-Atory and Warriors in the Dark.

 

Website: www.madameperipetie.com