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Alexandre Orion


david_l3

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These are "street" images with a graphic added in post production? Then they ultimately fail: for the simple fact that the serendipitous moment, so highly valued in the genre, and so important in this particular type of image is missing.

 

These aren't high concept shots worthy of a gallery, they are nothing more than visual fakery. They mock of everything that has come before them.

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The photos bear this caption:<p>

 

"Urban intervention followed by photographic recording."<p>

 

So I looked at some of the press cov'g and saw this:

 

"Mr. Orion traveled

through Sao Paolo, Brazil, tagging walls with caricatures of flying

men, prostitutes, and angel wings, and photographing their

interactions of people on the street. ..."

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<I>"He gained attention for his exhibition Metabiotics in 2006, a graffiti/photography project in which he painted graffiti pieces with white and black latex paint and photographed people interacting with them."</I>

<P>

But then again why would I bother to look a little deeper before posting?

<P>

If his graffiti is created first based on his observations of the street and how people interact with the landscape, and then photographed afterwards, where in effect he both predicted and created the interaction, then I would have to do a serious 180.

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I wish Leslie, you hadn't mentioned the breakfast series, because now, I'm hungry and have to go get some..

 

These here do come off as contrived and I wonder what he means by peoples interaction? Did he just watch how people posed or spontaneously interacted with the graffiti or did he pose them how he wanted them? Changes the intent of the project depending.

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"...effort and thought into every frame"

 

Yeah, Vivek concur and by his own definition of his work. Its always interesting that often, "conceptual" art, the main happening in "the piece" is the interaction within the viewing space and not any concrete thing or object or tangible product. But so often, the "piece" is then videotaped and photographed which provides some sort of concrete "document" of what happened and in a way the argues counter to some "pure" conceptual artists, who talk about what is happening in the here now is the work, its the experience not the recording of it. That is more for history, and practical considerations.

 

Like his skulls. These weren't great photos, but the drawings and how they were done and the context in which they were done are really good. The photos aren't really the "peice" just a document of it.

 

The other set that started this thread is even steps further and has differences.

 

After looking at his websiet I find them pretty amazing. First of all, this guy is an excellant skilled renderer. Consider these "interventions" (itself a loaded and weighted word and from his viewpoint a critical componant of his understanding of what he is doing) are revealed by washing away common soot. That is so brilliant, you could contemplate what all that means for quite a while in and of itself. Than the whole added idea of people and the images, and I would say he probably had some photos in mind by the way he set the drawings up, but I don't know for sure. All of it makes this more than photogarphy but here the photographs are integral to the work, though still a document. Yeah, he put a lot of work into it, has real skills, and interesting ideas he's willing to see through to completion and I respect that a lot.

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<I>"I find sp's first post here very hilarious."</I>

<P>

Ouch, but yeah, it was a knee-jerk reaction to what appear to be "too good to be true". Anyone who has done any street photography knows the likelihood of that many complete coincidences is beyond believable. I am a little disappointed in myself for immediately assuming the worst rather than spending the two minutes to look further.

<P>

<I>"The guy has put in a lot of effort and thought into every frame."</I>

<P>

Definitely, he's making a pretty big statement by this work.

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