Station 6, 2017

by Aline Isoard

Photography : archival pigment print 60 x 60 cm

$1,242

One of the last works available by this artist

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9.6/10

About the artwork

Type

Unique work

Signature

Signed artwork

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery


Medium

Photography: archival pigment print

Dimensions cm inch

60 x 60 cm Height x Width x Depth

Framing

White steel frame with museum glass

Artwork dimensions including frame

90 x 90 cm


Tags

Abstract artworks

Semi-abstract

Artwork sold in perfect condition

Artwork location: France

Aline Isoard takes her photographs in the glass-walled interior of a car. This closed and protective place functions as a luminous, and therefore paradoxical, darkroom where the specular reversal of space takes place thanks to the reflections of the mirrors.

On the traffic lanes with her cars glimpsed furtively, the photographer gives us a social testimony on a nomadic world. The capture of the attitudes of anonymous drivers and passengers, objects, and fragments of bodywork are revealing of a membership in a cultural and professional sphere, deducible only from the represented appearances.
After a selection of her shots, Aline Isoard reworks the digital prints and subjects their pigmentary layer to manual operations in order to remove, as well as to reveal, details, graphic elements, but also in order to attenuate colors or contrasts.
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About the seller

GALERIE GAÏA • France

Artsper seller since 2021

Vetted Seller

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Collector’s Guide

Imagine it at home

Aline Isoard, Station 6
Aline Isoard

Aline Isoard

France

During the inevitable almost daily trips to leave my village in the Alps, I have kept from my childhood the memory of this game which consists in accommodating the sharpness of the gaze on the different plans of the landscapes. Thus was formed part of the DNA imprint of my work.

When I let myself be driven, the vehicle with its multiple openings / windows becomes my transparent mobile studio placed on giant tracking shots, turned towards the carried away transported life that comes to terms with the unforeseen, the irrational and sometimes the absurd. From this restricted space, my snapshots taken on the fly fix moments of this feverish space-time as witnesses of fleeting memories of a public space in our collective memory.

In front of my photographs, it is possible to observe the manual work on the surface of the paper, balance between the printed image and the unique restored image. No addition, no gluing, no editing. In the pigment layer, repentance of tools, dirt, traces of gestures are visible. If however my interventions can evoke the register of drawing, they also modify the colors and materials of the pigment ink. This process of photographic depigmentation strips the epidermis of the photographic paper of its pigment to enrich it with the white of its soul which can in turn be light, color, space. In the stability of the square format, I simplify, sort, oppose, architecture. The slow work of the plastic surgeon erases the anecdotal elements and merges with the given snapshot.

Each image belongs to a series exploiting the various forms of detail: cuts in the landscape, images in the image created by reflections or from the undersides of decks, parts, bodies or objects, seen inside the passenger compartments , the out-of-view of the truck cab, the all-over produced by the cleaning brushes but also the fragmentation and enlargements of the print itself.

Before working on photographic paper in this way, I made for several years, abstract sculptures in painted glass sheets or scratched mirrors, playing with the freedom offered to painting to be in space, without frame, without background. . The mirror plots and their reflections brought moving images. I then added fragments of my printed images as still images coming back to the practice of photography.

Thus, by working in volume and in plan, the photograph has revealed itself to be composed of materials whose action of depigmenting deflects the realistic origins of the image and opens the image on the disorder between illusion and intention. .


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