The Two Labyrinths
di Michel Le Belhomme
The Two Labyrinths explores the landscape and its representation. The landscape is the ultimate romantic subject, and most often expresses itself from a contemplative and breath-taking perspective. Etymologically speaking, a landscape is a layout of traits, characters, and shapes in a limited space. It is a portion of space that is represented or observed and is subject to a point of view.
But first and foremost it is to be seen as a system, a perfect theorem of time and space, of flows and crossings, of borders and intermixing. In this series, Le Belhomme confidently chooses to stand “in conflict” with the landscape, as a vision and as a product of space and, despite its apparent obviousness, he assumes it can be put into perspective and thus reinvented. To do so, he humbly places himself in a structuralist approach in the spectrums of exploration, analysis and experimentation of this visible production.
To experience landscape is to practice it, to place it in contradiction, thus creating a peripheral vision. The visible then asserts itself through deconstruction and alteration. Without moving away from the primary function of an image, which is to present, this series elaborates hybrid and fanciful creatures, images of images, representations of representations, resonances of multiple echoes.
Halfway between dreamt-up images, suspended between documentation and fiction, and a visual experience with fluctuating absurdity and metaphorical irony; reality swiftly moves from the obvious to the abstract, from fullness to emptiness, from mockery to simulation. The visible thus becomes minimalistic, ghost-like, a breath-taking void, a work of fiction.
Michel Le Belhomme is a photographer based in Rennes, France.
Graduated from the School of Fine Arts in Rennes and the University of Rennes 2, he is a professor, lecturer, curator and critic in photography. Since 2014, he has been represented by the Binome Gallery in Paris. He exhibits regularly in France and abroad (festivals, institutions and galleries), laureat including the Prix Voies off 2015, Arles, SOlas photography prize in 2016. Le Belhomme practices the "slow sculptural protocol that is painting" according to Christian Gattinoni, in the wake of Brassaï's “involuntary sculptures” and ready-made scale, from the point of view corrected by Patrick Tosani: from the first he retained the use of materials without quality, their power of transformation; from the second he works the singularity of the objects and their metamorphosis in a game of proximity, disturbed by the distance and the variation of scale.
Adept of the principle of mise en abyme, he likes to overflow the image beyond its simple referent.