Michel Le Belhomme

Born in 1973, Michel Le Belhomme has studied at the Beaux-Arts School in Rennes. One of his teachers was Tom Drahos (1999).

Michel The Belhomme practices "the slow sculptural protocol which makes paintings" (Christian Gattinoni), in the wake of Brassaï's involuntary sculptures and of Patrick Tosani's ready mades, with their corrected scale and point of view. From Brassaï, he learned the use of cheap materials and their great power of transformation. From Tosani, he learned how to work on the singularity of objects and their metamorphoses in a play of proximity, disrupted by distance and the variation in scale.

Far from a romantic and touristic vision of the landscape, Michel Le Belhomme's photographic research develops an ambiguous relationship to representation, between document and fiction: at the beginning of this postmodernist and transversal century, we are less obsessed with alterity. There is something about incomprehension, the outside, the elsewhere, the heterogeneous, the corrupted, etc.

There are all kinds of "alterities" but it is necessary to have a critical perspective ; the image is always the reflection of a rapture. It will only form through deformation and deconstruction and therefore resist when faced to its "legend". Advocating an analytical photography, his images place the spectator in a position of visual instability, seeking for a meaning in order to tell between what's true and what's false.