Changement de quartierAbout this photograph
The reproduction of the landscape is the source of his work. In effect, the photographic representation of landscapes although excellently executed by many authors has limits: a landscape goes well beyond its strict representation, it is an invitation. For Alastair Magnaldo it is an invitation to dreams and poetry, where each detail has its own sense, each element its use, each scene its story to tell.Who has never dreamt of sleeping in cotton-wool clouds, to twirl amongst the stars and to rub shoulders with the moon? These are childish, simple emotions, inevitably constrained in some place by a traditional photographic reduction that he wanted to bring out in all simplicity.When his children invaded the field of vision, it was them of course that he began to direct. It is their false naivety and their freshness, which during a beautiful moment makes it believable.It is to this almost magical moment removed from real and daily life, which comes from the bottom of everyone?s dreams, that this work of creation is completely dedicated.Everything, or nearly everything converges there: the almost systematic insertion of an observer to which the spectator cannot prevent themselves from embodying, with a play on distances and dimensions to delete the fullness of photographic paper and the absence of aesthetic effect not exclusively serving the creative cause. His reasoning is a product of a creative gesture subjected to the originality of each story. Each photograph must be a totally separate creation with its own idea.
|Classic, Selection, Large||113 SEK|
|Giant, Collector, Exception||1190 SEK|
Alastair Magnaldo first encountered photography when he was ten years old, captivated by illuminated black and white prints. This luminous vision of photography has stayed with him. He tries to capture this light in his compositions. Colour is used for the unique purpose of adding atmosphere. Alastair Magnaldo is a scientist by training and remains attached to an experimental and creative approach. He decided to perfect his technique in order to free himself from technical constraints. Some of his photographs are photomontage, but others not and the viewer cannot be certain. What the photographer calls â€˜digital printsâ€™ result from this approach.