After a successful first show in its new venue in Brussels, Galerie Paris-Beijing is pleased to announce the solo exhibition of French artist Jean-François Rauzier who will be showing a selection of giant prints from his amazing series Hyperphotos.
In the Land of Surrealism, Rauzier’s hyperrealist puzzles surprise the viewer by creating an “Enchantment with reality “. Jean-François Rauzier creates a world beyond limits, immense panoramic landscapes in which “the in#nitely huge and the in#nitely tiny “ are melded together at the heart of the same vision.
Hyperphotos are the realization of an old dream that would be impossible without his great mastery of digital technology. Evocative large-scale images immerse the spectator into a dreamlike, sometimes fantastic universe.
Each of Rauzier’s works are meticulously composed by stitching together hundreds of photographs.
The artist emphasizes contrasts and perspective to offer a reflection on reality and an invitation to an exceptional journey.
Jean-François Rauzier was born in 1952. Fascinated by photography from an early age, he graduated from the School Louis Lumière in 1976. He has since been working as a professional photographer, while developing a personal creative work.
For a few years Jean-François Rauzier has been receiving the recognition and praise of his peers. In 2009 he received the Arcimboldo award for the digital creation and he was rewarded by the APPPF in the category photograph of architecture. In 2010 he received the Eurazeo prize.
Enchantment with the reality
“There was a time when photographic collage was considered to be the most extreme avant-garde. In the 1930s, many artists discovered the incredible expressive richness of this form of creativity,playing with the subtle tensions between several elements of reality.
The photographer Jean-François Rauzier is today resuscitating this somewhat forgotten tradition, but using other methods. And even though he has something of the heroism of the pioneers, his work has other aims, including that of questioning the function of the contemporary image.
The technological revolution has opened up all sorts of creative possibilities. Real and virtual
now have the same texture, the same appearance, conjuring up considerable doubt about the
nature of the images we consume every day.
Jean-François Rauzier had the idea of creating new images using only photography around, at a time when digital was just starting to be considered worthy by professionals, and when Photoshop also reached a level of perfection enabling retouching of undeniable quality.
He started with landscapes, since a panorama is perfect for adding to, building upon and overlaying. To do so, he continued his pictorial research, but centred on the play of materials, and the extreme enlarging of found details. !ese initial photographic creations taught him the importance of compiling a database, and so he began to amass thousands of skies, fragments of nature, pieces of architecture and other details encountered in the course of his travels. Any of these elements may be used in one of his works at any time; the only (very rare) exceptions are some animals, which will be borrowed from other photographers. Rauzier’s compositions have become increasingly complex over time. In the last few years, architecture and the urban landscape have become the key themes of his practice. !is technique of accumulation is quite baroque.
his fictional world that he patiently builds on his computer therefore plays upon mise en abyme. But Jean-François Rauzier’s images are anything but anecdotal. Each one constitutes a worldview and an opinion of our society, aspects which #nd a similarity in the recent work of Andreas Gursky or Jeff Wall, two artists whom he frequently cites.
Jean-François Rauzier also gives us essential advice on seeing: look at the visual pool surrounding you and you will see a whole world made of telescoping, accumulation and collage“.
An extract from the text In search of the utopian image by Damien Sausset