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Francis Azevedo, Behind the selfie 1

Francis Azevedo Behind the selfie 1 , 2016

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$USD 244

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The artwork is available for pickup from the gallery in Paris, France

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Francis Azevedo, Behind the selfie 1
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Informations about this artwork
  • Medium

    Photography : lambda print

  • Dimensions cm | inch

    15.7 x 23.6 x 0.8 inch

  • Support

    Photography on Dibond

  • Framing

    Not framed

  • Type

    Numbered and limited to 30 copies
    8 remaining copies

  • Authenticity

    Work sold with an invoice from the gallery
    and a certificate of authenticity

  • Signature

    Signed artwork

  • Offered by the gallery

    Art and Events
    Paris - France

  • About the artwork

    Artwork sold in perfect condition

    Behind the selfie

    Tout d’abord cette série ne cherche pas à montrer des selfies ni prétend être une série anti-selfie. Elle veux plutôt montrer dans un premier temps le visage du sujet aux yeux du spectateur. Dans l’instant qui suit, le décor prends le rôle principal, pour démontrer que le visage n’existe plus, ou tout simplement est devenu secondaire.
    « Cet essai photographique, était donc la première série de rue sur laquelle j’ai travaillé en demandant que les sujets posent. J’ai souvent essayé de photographier les gens quelques minutes avant de faire leur autoportrait, et les autres ont tout simplement été choisi au hasard. »
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Francis Azevedo

Brazil Born in: 1997
Photographer for Nuit Debout, Francis Azevedo captures parts of history, through the use of sensitivity and with a hint of irony.

Photos of Robert Bresson and Sebastião Salgado have an influence on his work. Ranging from street art to photography, the artist lives on the street. The street is his muse, demonstrations, his favorite ground. He is able to capture them with conviction and commitment. The camera is like the "extension of his eye" he says. Francis Azevedo gets round photo essay and shows it through an artistic angle. He considers his approach to be "a therapeutic research".

According to him, black and white (which tends to lean more towards black) is the most appropriate tool, so as to preserve the strength of one's ideas "it's immediately theatrical...and as Salgado says, black and white give free rein to the person looking at the photo, as he an imagine the colors". He strives to infiltrate perception and encourages his photos to lean on his angle. His favorite angle is the one of clarity, clearness and games. He plays around with our stereotypes: for example, a police officer isn't just synonymous with violence but strives to highlight the shadow, which is eclipsed by the direction of flow.
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Francis Azevedo, Behind the selfie 1
Francis Azevedo, Behind the selfie 1