Blade Portraits
2012
colour photograph, laminated, framed and cut
47 x 40 centimeters
Unique
Each piece of this new series is the framed photographic print of a flower – often with its back to the photograph, stretching its neck for a capital punishment to come – and whose frame was cut through, leaving the top of the photograph to fall into the lower space, in the manner of a blade sliding in the window of a guillotine. Each "Blade Portrait" is actually a "Portrait of blades". There is a stratification of a series of exclusions and cuts: a flower is cut, it is then cut again by the photographic framing produced by the wooden frame containing the image, the whole thing (photo and frame) is cut one last time with a circular saw. "Blade Portraits" is an attempt to create an anti-portrait of all the blades that contributed to the work. Behind the literality of this set of cuts within cuts, Étienne CHAMBAUD tries again to define in a reverse way the work of art or its exhibition which he considers as framings, that are as much processes of inclusions as they are of exclusions. By naming this series "Blade Portraits", the artist insists not on what the photos show - a flower, but on the contrary, on what they exclude, but which has created them paradoxically: cuts.
Blade Portraits
2012
colour photograph, laminated, framed and cut
47 x 40 centimeters
Unique
Each piece of this new series is the framed photographic print of a flower – often with its back to the photograph, stretching its neck for a capital punishment to come – and whose frame was cut through, leaving the top of the photograph to fall into the lower space, in the manner of a blade sliding in the window of a guillotine. Each "Blade Portrait" is actually a "Portrait of blades". There is a stratification of a series of exclusions and cuts: a flower is cut, it is then cut again by the photographic framing produced by the wooden frame containing the image, the whole thing (photo and frame) is cut one last time with a circular saw. "Blade Portraits" is an attempt to create an anti-portrait of all the blades that contributed to the work. Behind the literality of this set of cuts within cuts, Étienne CHAMBAUD tries again to define in a reverse way the work of art or its exhibition which he considers as framings, that are as much processes of inclusions as they are of exclusions. By naming this series "Blade Portraits", the artist insists not on what the photos show - a flower, but on the contrary, on what they exclude, but which has created them paradoxically: cuts.
Blade Portraits
2012
colour photograph, laminated, framed and cut
47 x 40 centimeters
Unique
Each piece of this new series is the framed photographic print of a flower – often with its back to the photograph, stretching its neck for a capital punishment to come – and whose frame was cut through, leaving the top of the photograph to fall into the lower space, in the manner of a blade sliding in the window of a guillotine. Each "Blade Portrait" is actually a "Portrait of blades". There is a stratification of a series of exclusions and cuts: a flower is cut, it is then cut again by the photographic framing produced by the wooden frame containing the image, the whole thing (photo and frame) is cut one last time with a circular saw. "Blade Portraits" is an attempt to create an anti-portrait of all the blades that contributed to the work. Behind the literality of this set of cuts within cuts, Étienne CHAMBAUD tries again to define in a reverse way the work of art or its exhibition which he considers as framings, that are as much processes of inclusions as they are of exclusions. By naming this series "Blade Portraits", the artist insists not on what the photos show - a flower, but on the contrary, on what they exclude, but which has created them paradoxically: cuts.
Blade Portraits
2012
colour photograph, laminated, framed and cut
80 x 67 centimeters
Unique
Each piece of this new series is the framed photographic print of a flower – often with its back to the photograph, stretching its neck for a capital punishment to come – and whose frame was cut through, leaving the top of the photograph to fall into the lower space, in the manner of a blade sliding in the window of a guillotine. Each "Blade Portrait" is actually a "Portrait of blades". There is a stratification of a series of exclusions and cuts: a flower is cut, it is then cut again by the photographic framing produced by the wooden frame containing the image, the whole thing (photo and frame) is cut one last time with a circular saw. Blade Portraits is an attempt to create an anti-portrait of all the blades that contributed to the work. Behind the literality of this set of cuts within cuts, Étienne CHAMBAUD tries again to define in a reverse way the work of art or its exhibition which he considers as framings, that are as much processes of inclusions as they are of exclusions. By naming this series "Blade Portraits", the artist insists not on what the photos show - a flower, but on the contrary, on what they exclude, but which has created them paradoxically: cuts.
Blade Portraits
2012
colour photograph, laminated, framed and cut
80 x 67 centimeters
Unique
Each piece of this new series is the framed photographic print of a flower – often with its back to the photograph, stretching its neck for a capital punishment to come – and whose frame was cut through, leaving the top of the photograph to fall into the lower space, in the manner of a blade sliding in the window of a guillotine. Each "Blade Portrait" is actually a "Portrait of blades". There is a stratification of a series of exclusions and cuts: a flower is cut, it is then cut again by the photographic framing produced by the wooden frame containing the image, the whole thing (photo and frame) is cut one last time with a circular saw. Blade Portraits is an attempt to create an anti-portrait of all the blades that contributed to the work. Behind the literality of this set of cuts within cuts, Étienne CHAMBAUD tries again to define in a reverse way the work of art or its exhibition which he considers as framings, that are as much processes of inclusions as they are of exclusions. By naming this series "Blade Portraits", the artist insists not on what the photos show - a flower, but on the contrary, on what they exclude, but which has created them paradoxically: cuts.
Blade Portraits
2012
colour photograph, laminated, framed and cut
65 x 52 centimeters
Unique
Each piece of this new series is the framed photographic print of a flower – often with its back to the photograph, stretching its neck for a capital punishment to come – and whose frame was cut through, leaving the top of the photograph to fall into the lower space, in the manner of a blade sliding in the window of a guillotine. Each "Blade Portrait" is actually a "Portrait of blades". There is a stratification of a series of exclusions and cuts: a flower is cut, it is then cut again by the photographic framing produced by the wooden frame containing the image, the whole thing (photo and frame) is cut one last time with a circular saw. "Blade Portraits" is an attempt to create an anti-portrait of all the blades that contributed to the work. Behind the literality of this set of cuts within cuts, Étienne CHAMBAUD tries again to define in a reverse way the work of art or its exhibition which he considers as framings, that are as much processes of inclusions as they are of exclusions. By naming this series "Blade Portraits", the artist insists not on what the photos show - a flower, but on the contrary, on what they exclude, but which has created them paradoxically: cuts.
Blade Portraits
2012
colour photograph, laminated, framed and cut
65 x 52 centimeters
Unique
Each piece of this new series is the framed photographic print of a flower – often with its back to the photograph, stretching its neck for a capital punishment to come – and whose frame was cut through, leaving the top of the photograph to fall into the lower space, in the manner of a blade sliding in the window of a guillotine. Each "Blade Portrait" is actually a "Portrait of blades". There is a stratification of a series of exclusions and cuts: a flower is cut, it is then cut again by the photographic framing produced by the wooden frame containing the image, the whole thing (photo and frame) is cut one last time with a circular saw. "Blade Portraits" is an attempt to create an anti-portrait of all the blades that contributed to the work. Behind the literality of this set of cuts within cuts, Étienne CHAMBAUD tries again to define in a reverse way the work of art or its exhibition which he considers as framings, that are as much processes of inclusions as they are of exclusions. By naming this series "Blade Portraits", the artist insists not on what the photos show - a flower, but on the contrary, on what they exclude, but which has created them paradoxically: cuts.
Blade Portraits
2012
colour photograph, laminated, framed and cut
65 x 52 centimeters
Unique
Each piece of this new series is the framed photographic print of a flower – often with its back to the photograph, stretching its neck for a capital punishment to come – and whose frame was cut through, leaving the top of the photograph to fall into the lower space, in the manner of a blade sliding in the window of a guillotine. Each "Blade Portrait" is actually a "Portrait of blades". There is a stratification of a series of exclusions and cuts: a flower is cut, it is then cut again by the photographic framing produced by the wooden frame containing the image, the whole thing (photo and frame) is cut one last time with a circular saw. "Blade Portraits" is an attempt to create an anti-portrait of all the blades that contributed to the work. Behind the literality of this set of cuts within cuts, Étienne CHAMBAUD tries again to define in a reverse way the work of art or its exhibition which he considers as framings, that are as much processes of inclusions as they are of exclusions. By naming this series "Blade Portraits", the artist insists not on what the photos show - a flower, but on the contrary, on what they exclude, but which has created them paradoxically: cuts.
