The Winston Weekly: Flapping Mallard

In the words of Christophe Lenoble:

I photograph tiny and insignificant subjects to be able to see them and to show them as monuments. I pull out of decay and rust supports for transcendence. I'm interested in things that are intended to be covered as quickly as possible, the intermediate states of town planning. I look for the play of time on men's works that attempt to stop time. I seek traces of entropy for their strange and ignored beauty. And all this is created by chance, at random places where I manage to get lost, not a small matter nowadays.

I limp between held and distended support points: the sublime and the pointless, eternity and the immediate, sense and indecency, passion and disgust, the eulogy of leak and the art of war, the taste of detail and the impression of the whole.

Christophe Lenoble was born in Le Puy, France, in 1957. He attended the Fine Art school of Avignon in France, where he studied under artist Willy Ronis. He continued his study of art at the Fine Art school of Aix en Provence with emphasis in photography, painting, cartoon and video. He finished his courses at the Gobelins school for Graphic Art in Paris.

He worked and collaborated with cartoon studios and broadcast companies as a film director and scenario writer for years. Continuing personal research tasks, he has shown graphics works in selected group and solo exhibitions in France, England and Belgium. In 2004 he left the movie business to create a digital art studio in Le Vigan near the National Cevennes Natural Park. He then began a long-term project in photography linked to a web site showing his daily work (http://christophe.lenoble.free.fr). He travels all over the world to collect images for his compositions.

CHRISTOPHE LENOBLE'S WEBSITE:
http://christophe.lenoble.free.fr

Thought by Thought

4/6/08 - In My Own Backyard - DLW

For a number of years, before flying lost much of its appeal, gasoline prices soared, and Americans became despised in far too many places around the world, I loved traveling to other cultures. These journeys were sparked by a strong desire to photograph unfamiliar ports of call with the freedom that is part and parcel of seeing people and places for the first time.

One appealing picture would be enough to get my juices going and in short order I'd be flying to a new land. Other than the challenges of orienting myself to new languages, cultures, and intermittent loneliness, these journeys contained moments of bliss and taught me a lot about myself. For these reasons they are cherished.

At the same time, after many trips abroad I've come to the conclusion that my favorite images have been taken locally, where life is not as alluring and creating art seems to be constantly at odds with other things that need to be done. Yet its the local terrain that I am most familiar with and least fooled by (something I can't say when I'm in new places where the allure of surface qualities can be mesmerizing).

Despite all the tasks that come up, I push myself out 2-3 times a week, returning to places I know like the back of my hand. Most of the time, the light is not ideal. But, with patience, new and unexpected weather patterns conspire to reveal the familiar in compelling ways. These are the moments that keep me turned on to photography and I find them available in my own backyard. DLW

Thought by Thought

I am always trying to make my photographs sing, to express something that is more than the sum of their parts. Despite all of my ideas about what makes an image sing, I still feel like a beginner. When I'm willing to give up my "good" ideas and think outside the box, possibilities start opening up. Instead of imposing my will, I begin to see what is actually in front of me and approach it with a playful attitude and a willingness to go deeply within myself so that I can see more clearly. That's when possibilities have the best chance to emerge. Nevertheless, this does not happen automatically. But getting out again and again does result in images that sing. DLW

When it comes to photographing people, I love to explore fringe areas, especially at events. That's where I find subjects that are more likely to reveal themselves. After the event begins and everyone is in their role, its harder to get past the surface. But arriving early when preparations are still underway and the spotlight has not yet arrived multiplies the likelihood of finding authentic moments. That's the fringe. Its a lot easier to capture people at an event they're wrapped up in. Scanning the peripheral possibilities, when people are not yet into their roles, helps to find expressions and gestures that usually go unnoticed but are often so much more revealing. DLW

For me, photography is about relationship. At times the relationship is between me and my subject(s), but more often its between subjects, animate or inanimate within the picture frame. To emphasize relationship I like to juxtapose, contrast, uncover humor and create mystery. Often these elements weave together. Sometimes relationship is about alienation, a sense of isolation in relation to self or surroundings. Ultimately, my photographs reveal a lot more about how I perceive the world than the subjects they depict.

Without relationship a photograph remains in a sense, two dimensional. With relationship there is always the possibility of transformation, creating more than the sum of the parts. DLW

I often find boredom to be useful. It can be just the kick in the pants I need to explore new possibilities. "Interstate Landscape" (11/21/07) resulted from the boredom of being a passenger on a five hour trip over territory that was familiar. Play was just the antidote. I began to consider anything that came into my visual field as subject matter. Since we were moving quickly, I made no attempt to stop action, but to use movement as a good martial artist might do. My preconceived ideas often result in boredom. Being more in tune with life's flow is a challenge and has become the growing edge in my work and life. DLW

When it comes to creativity, what I find most critical is simply getting out to take images on a regular basis. In a way this is obvious, but its good to remember when daily chores and activities overshadow the creative impulse. My late mother, a writer, used to put herself in front of the typewriter from 11-2 everyday whether anything was forthcoming or not. Simply taking the time to generate new work consistently makes creativity possible. DLW

I like to explore edges. In the process some may not be pleased with the results, but its my hope that enough will. I believe its important that I risk losing viewers. Otherwise I'm more focused on pleasing than exploring my own vision. Winston Unleashed was born out of this notion. DLW

I try to simplify so that everything that appears in the picture frame supports everything else. When there is a background, I take time to see how well it works with the foreground as well as other parts of the picture frame. DLW

When approaching subjects, I always ask myself, "How can I show this in a different way?" and/or "How can I throw in something unexpected?" If I've photographed similar subject matter in the past, I ask, "How can I do it differently this time?" DLW

Thursday, January 31, 2008

Flapping Mallard

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