Jean Luc Tartarin borrows from the history of photography images that he will reproduce in a file which he calls \u00abfirst\u00bb and from which he can experiment with different interventions until obtaining the works he considers to be finished.
When he grabs an old photograph, of argentic nature, once scanned, it becomes like a negative. The raw file, of a particular nature, allows Jean Luc Tartarin to undertake a work of construction of a new image in a kind of digital alchemy.
After this long work of invention, mixing pleasure and struggle with virtual matter, the final file will be embodied in the materiality of a print on chromogenic paper.
In its work process, the table must not allow to perceive the pixels of which the image is made. Only materials, such as a painted painting, must be visible.
The book is organized around three great iconographic sets: figures, flowers and forests. The latter subject has always been important in the photographic research that the artist has been conducting for more than fifty years.<\/p>\n","protected":false},"author":13,"featured_media":21569,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"nature":[1284,1281],"statutdeslivres":[],"class_list":["post-21887","livre","type-livre","status-publish","format-standard","has-post-thumbnail","hentry","nature-art-en","nature-photographie-en"],"acf":[],"yoast_head":"\n