Bomdok, 2010

by Georges Rousse

Photography : silver print

61 x 76 cm 24 x 29.9 inch

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About the artwork


Numbered and limited to 30 copies

1 copy available


Signed artwork


Sold with certificate of Authenticity from the gallery

Invoice from the gallery


Photography: silver print

Dimensions cm inch

61 x 76 cm 24 x 29.9 inch Height x Width x Depth


Not framed


Artwork sold in perfect condition

Artwork location: France

Georges Rousse is a visual artist of fantasized space.

The encounter with an abandoned place is the starting point of his creative act. Ruin, this fertile ground for poetry, is questioned by light and then by a simple form. To succeed in creating the dimensions and scales that reveal the space, the artist sketches preparatory drawings where his forms run along the walls, floors and ceilings.

“I visit a building. At a certain place, I stop because I perceive in space things that interest me. I see the light. I often look for the impact of light on architecture. I observe the complexity of the volumes in the place »

His sketching work allows him to understand the place, the spatial support of the work, which he does not refrain from modifying or altering. But, it also allows him to perceive his photographic cliché in the making. Finally, comes photography, which freezes the place in the work, this space which continues its evolution, its degradation, its poetry.

“When I make a work I take a photo of it, I would like to stop before and stay in the transformation of the place. It would be a gratuitous artistic act. »
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Georges Rousse, Bomdok

Georges Rousse

France  • 1947


Georges Rousse was born in 1947 in Paris, which is where he currently lives and works. While still a medical student, Georges Rousse decided to fully devote himself to photography. After having explored the diverse forms of the medium –in particular architectural photography— his passion pushed him towards an artistic practice in the footsteps of the great American Masters: Stieglitz, Weston, and Adams. Drawing inspiration from Land Art to intervene in the photographic field and Malevich's “Black Square" to manipulate space with painting, Rousse's evocative work has remained in the contemporary photographic landscape since the beginning of the 1980s. He has not stopped since.

In a new manner, Georges Rousse assembles painting, sculpture, and architecture with photography in order to transform real places – most often those destined to be destroyed. For several days, he checks into empty buildings, choosing spaces for their architectonic qualities and lighting, and transforms them into an another space, a fictional, utopian space, depending on his artistic preoccupations, his imagination, as well as his relations to the country and its literature and culture.

Unfolding, shattering into the physical space, the forms that Rousse paints, draws, and builds reconstruct themselves into exact and legible images when regarded from a specific point of view: the point which renders the large-scale photographs that he displays. In creating a new space, a fusion of existing and fictive space, these enigmatic pieces upturn our beliefs and perceptual habits. However, they go beyond simple optical illusions. For Rousse, the process of creating such a work is a metaphysical experience. Through his lens, he projects his world view, his imaginary space into that which already exists. Here, the camera allows for the artist's dream to materialize and invites us to discover “another time and another space." The photographic image is at once a memory of place, of its history, and its transformation by the artist.

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