Photographer Guillaume Dimanche, an Art-Trope Artist, tells us his story of how he got into Art:
Artistic creation is a passion of youth. It came after encounters, visits to exhibitions, concerts, shows, films that gave me great emotions. I did my education in Art schools in Poitiers (EESI) and at the Beaux-Arts de Paris where I studied drawing, painting, photography, sculpture, then video, creating images called new media at the time, digital creation. I still work as a graphic designer on the side, mainly in the fields of culture and luxury, for IRCAM, the Cannes Film Festival, the Cité de la Musique, Mauboussin, Boucheron, the Academy of Music in Qatar.
His sphere of expression
I am inspired by a variety of contemporary Artistic creations: visual arts, photography, music, cinema, but also classical Art from great masters. My work is a perspective on what is contemporary. My photomontages, or photographic compositions, show unsettling atmospheres on very classic subjects such as landscapes, architecture, still-life, portraits. I express my understanding of today’s world, the stigma of our society, especially with a perspective on climate change, unveiling the consequences of our actions and our involvement in this global warming process. I compose my photomontages from long shooting sessions. I record digital footprints of my subjects in very close shots. I Capture and adjust traces to form a statement. The use of my techniques, constantly refined, renewed, serves as an expression of a very contemporary representation of my subjects. The aspiration towards which I tend in my creations must provoke an induction between the visual form and the exhibited subject. The subject is known, recognized, familiar, always, one way or another. The composition made on my photomontages, is full of pictorial abstractions. Together, the subject and its image, adjust to arouse an emotion that is both complete and wholly. The gap between the simplicity of the subject and the complexity of the construction itself and its outline must move the viewer to his intimacy and remain with him, anchored.
One might say that I have been working the same way for 30 years, ever since I was little. I scratch the surfaces of objects, materials, landscapes to understand how they operate, how they are made. In my work of cutting and compositing, watching closely to observe with clarity and precision, digital tools have become my creative companions. Since my creative studio is small and light, I can travel all around the world, in any desert, mountain, forest, on foot, on my bike and stop for observations in the most beautiful places. I work everyday. Some series are built over time, others are made in a few weeks. I have several projects in maturation or in the process of writing. I always do technical and creative experiments so I can illustrate or develop a subject, a particular reflection. What I see in the future for my work is to have time and founds for creation, research and production. I would like to collaborate on specific projects with other Artists or technicians, to lead to more complex works, richer or of another nature. Current photomontages could become installations of Artistic objects in multiple dimensions.
All exhibitions are important. Each one is the occasion to meet a different audience. Each one is a new experience, brings an issue about the production and the curation of my works. The one taking place in a private house or apartment in the suburbs is as important as the one taking place in a gallery or an Art center in capital cities. The essential exhibitions are the ones to come. It makes no difference to me. The exhibition that asked me for an important physical commitment, a year of preparation, two weeks of performance, eight days of debriefing in the gallery and two years of production and exhibitions is a memory that is as vivid as the one the one of a mere hanging session, when you always have a feedback, a discussion with the curator, with another Artist, or with only one visitor. I have several discussions and projects for solo shows and collective exhibitions to be held in Paris in the spring 2018. The dates and places are to be specified soon.
The Artist and Art-Trope
The current and recurrent problem is my position of creator as opposed to what I am not at all, a salesman. But I can overcome this challenge, even though it takes time. Secondly, I have never really thought about entering the Fine Arts market, especially because I wanted to protect the maturation of my work. I have often been in contradiction, even in opposition with professors, gallery owners, who wanted to orient my work towards something much more shaped by established references without being able to understand it and thus defend it and sell it. Nowadays, I think Artists need a multi-tool box to show and sell their artwork. A single merchant or even two or three galleries are no longer sufficient. Art-Trope has a founder and a young team who have a precise and yet global perspective on contemporary Art and the related financial market. Art-Trope helps me by representing me and by ensuring my credibility and commercial approach to collectors, galleries and the press on a daily basis, on shows as well as on occasional events. I have already noticed a change in the tone of meetings at the announcement of the support of an Artists Agency. The important elements in my relationship to Art-Trope are the listening and the personalized support. They also have the capacity to reach customers who are difficult to meet from my studio where I spend most of my time dedicated to creation. Through these connections and a dedicated sales platform, I can devote more time to my research and my productions.
See Guillaume Dimanche’s Art-Trope profile here.
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