emmanuelmonzonphotography

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[emmanuelmonzonphotography]

[emmanuelmonzonphotography]

TITLE : URBAN SPRAWL EMPTINESS

SERIES

AUTHOR : EMMANUEL MONZON

Emmanuel Monzon’s photos have a visual strength that comes from their minimalist composition and the chosen color palette.

His modus operandi is that of a hunter who travels with his car in search of images.

The absence of people and the characteristics of the places portrayed convey a powerful feeling of isolation.

“I don’t want to go where I’m going, I just want to live where I am”

“Through my urban sprawl series I am asking myself : am I leaving a city or entering a new environment?

I like to play/’mix’ two approaches: The codes of the new topographics and the concept of “in between-two states” inspired by the anthropologist Marc Auge under the name of non-places.

I like transitional places, like intersections or passages from one world to another, such as from a residential area to an industrial area.

I also like the tourist places altered by the human trace. We often find this feeling of emptiness, of visual paradox by travelling throughout the United States.

The transition from one site to the next: You have arrived and at the same time you have never left.

I believe that the expansion of the urban or industrial landscape in the American natural landscape has redefined this space and has become itself a “non-place.”

In my artwork there is no judgment, no denunciation, only the picture itself.

If I could sum up the common theme of my photos, it would be about emptiness, about silence.

My pictures try to extract from the mundane urban landscape a form of estheticism.

Where most people only pass through, I stop and look for some form of poetic beauty. I like repetition, I like series, and I like driving around.”

“Woofermagazine was born in May 2020 on Instagram.

At first it was a personal way to investigate photography and social networks. On Instagram there are an infinite number of images and almost all the photographers, even the best known, have ended up on the network. So I was wondering if something could really be done that went beyond the likes, create a hub capable of sharing quality content and capable of attracting a large audience. I soon became convinced that it was possible and also that it was an instrument to give visibility to photographers who, due to mysteries of the divine algorithm, have excellent work but are little recognized. I can tell you that there are many extraordinary photos that go completely unnoticed. As of this writing, there are 861,000 photos tagged #woofermagazine on Instagram and I have personally reviewed at least 80% of them. In addition, I conduct a research paper daily to find photos that I am convinced stand out. Now, after three years, I think the time has come for this project to free itself from the limitations that a social network can entail and go one step further.

So we are ready to launch this web page where we are going to try to create a personal map that can be used by everyone, to orient themselves in our society where images have a predominant role. Or at least we will try to do this.”

Andrea Ratto

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 International Juried Photography Exhibition

OPEN THEME

EXHIBITION RECEPTION: Saturday, Feb 17 6PM-8PM Exhibition Dates: Feb. 17–Mar. 9, 2024

“Photography is an art of observation. It’s about finding something interesting… It has little to do with the things you see and everything to do with the way you see them.”

–Elliott Erwitt

​

Praxis Gallery presents photographic art of any genre and any subject matter which represents the artist’s endeavor to reveal a personal declaration of visual significance, be it a celebration of pure aesthetic formalism, humor or conflict, fiction or fact, or any other literal or ephemeral manifestation. All genres, capture types, black & white and color, traditional and non-traditional photographic and digital post-production processes are welcome for submission. Juried by Aline Smithson.

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PASSEPARTOUT PHOTO PRIZE

OUR AWARD

Passepartout aims to support the development of talented photographers from all over the worldby creating opportunities for worldwide exposure. It is an open-theme contest. Photographic works of any kind of artistic style, size and technique (digital, film and experimental processes, digital collages, and other mixed media) are accepted. AI-generated images as a part of the photographic process are accepted.

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Professional Winner Videos (16th Annual)

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 International Juried Photography Exhibition

FRAMES WITHIN FRAMES

Opening Night Reception: March 18TH, 6-8PM Exhibition Dates: Mar 18TH – Apr 1ST, 2023

Exhibition Virtual Tour Link

Juror: Dallas Crow

Speaking of the power of photography, Garry Winogrand once said, “Putting four edges around a collection of information or facts transforms it.” Let’s take that a step further: what happens when you put a frame—in the form of a doorway, window, mirror, casket, another picture, or some other structure—in the photograph itself? It may intensify the focus on the thing framed, but what about what’s happening in the margins between the interior frame and the edge of the picture? How does the composition work as a whole? How do the elements inside and outside the framing device interact? What has the photographer gained by including a frame within the picture rather than making it the border of the entire image?

Praxis presents photographic art That explores a frame or multiple frames within an image as the conceptual basis for the aesthetic expression.

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Les salines de Bonneville sont une étendue de sel située sur le bord ouest du Grand Lac Salé. Elles sont réputées pour être les plus vastes d’une série de salines et ont été formées à la fin de la dernière période glaciaire, lorsque le lac Bonneville du Pléistocène a commencé à se retirer.En 1907, quelques entrepreneurs locaux ont effectué des essais en conduisant une voiture Pierce-Arrow sur les salines, et en 1910, le premier chemin de fer permanent a été construit sur les salines de Bonneville. Depuis lors, les salines de Bonneville sont considérées comme l’un des circuits de vitesse terrestre les plus prestigieux au monde.Chaque année, cinq grands événements de course de vitesse terrestre y sont organisés, dont le légendaire Speed Week.Le premier record de vitesse terrestre a été établi lors des courses à Bonneville en 1914, et les événements de course actuels des salines de Bonneville attirent des voitures, des camions et des motos qui tentent d’établir la vitesse la plus élevée atteinte par une personne utilisant un véhicule sur Terre.

C’est ici dans ce coin reculé de l’Utah que le photographe Emmanuel Monzon a décidé de situer sa série “URBAN SPRAWL – Emptiness“.

Autour de Wendover et des salines de Bonneville en Utah.“À travers ma série sur l’étalement urbain, je me pose la question : est-ce que je quitte une ville ou est-ce que j’entre dans un nouvel environnement ?J’aime jouer et mélanger deux approches : les codes des nouvelles topographies et le concept de “l’entre-deux états” inspiré par l’anthropologue Marc Augé sous le nom de “non-lieux”.

J’apprécie les endroits de transition, comme les intersections ou les passages d’un monde à un autre, par exemple, d’une zone résidentielle à une zone industrielle. L’étalement urbainJ’aime aussi les lieux touristiques altérés par la trace humaine. On retrouve souvent ce sentiment de vide, de paradoxe visuel en voyageant à travers les États-Unis. La transition d’un site à l’autre : vous êtes arrivé et en même temps, vous n’êtes jamais parti. Je pense que l’expansion du paysage urbain ou industriel dans le paysage naturel américain a redéfini cet espace et est devenu lui-même un “non-lieu”.

Dans mon travail artistique, aucun jugement n’existe, pas de dénonciation, seulement l’image elle-même. Si je devais résumer le thème commun de mes photos, ce serait le vide, le silence.Mes photos essaient d’extraire de l’ordinaire du paysage urbain une forme d’esthétisme. Là où la plupart des personnes passent simplement, je m’arrête et cherche une forme de beauté poétique. J’aime la répétition, j’apprécie les séries et j’adore conduire autour.”

Étalement urbain (urban sprawl) est l’augmentation de la superficie d’une ville, et la diminution de sa densité de population. Il est l’une des manifestations spatiales de la périurbanisation. Je ne veux pas aller là où je vais, je veux juste quitter l’endroit où je suis.

URBAN SPRAWL – Emptiness par Emmanuel MonzonEmmanuel Monzon est un photographe et artiste visuel basé à Seattle, WA. Il est diplômé de l’Académie des Beaux-Arts de Paris, France, avec mention. Son travail a été présenté dans toute l’Amérique du Nord, l’Europe et l’Asie (à travers des expositions, des sélections et divers prix).À travers son travail, il explore et questionne les signes de l’étalement urbain dans notre champ visuel. Son processus photographique est influencé par son expérience en tant qu’artiste plasticien.

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Redazione Art-Vibes | On 22, Ott 2023

Un’esplorazione del paesaggio urbano asettico: la dirompente potenza silenziosa di non-luoghi dove emerge una prepotente sensazione di vuoto.

di Redazione Art Vibes

– Picture: Emmanuel_Monzon – URBAN SPRAWL – Emptiness, UTAH.

Attraverso i suoi scatti cerca di estrarre da un banale e anonimo paesaggio urbano tracce di un’estetica minimalista, perché dove la maggior parte delle persone vedono solo luoghi di passaggio, il fotografo Emmanuel Monzon intravede forme di bellezza poetica.

Avevamo già parlato in passato della sua poetica espressiva, questa volta la sua serie “Urban Sprawl – Emptiness” si amplia di nuove fotografie che raccontano le zone intorno alle saline di Wendover e Bonneville nello UTAH.

La serie, presentata da All About Photo, mescola i codici della nuova topografia con il concetto di “tra due stati”, ispirato dal concetto di “non-luoghi” introdotto dall’antropologo Marc Auge.

Emerge una prepotente sensazione di vuoto, laddove l’espansione del paesaggio urbano o industriale nel contesto naturale americano ridefinisce lo spazio trasformandolo in un “non luogo“.

Nelle sue opere non c’è giudizio, non c’è denuncia, rimane l’immagine in tutta la sua dirompente potenza silenziosa.

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Dans l’Ouest américain, perdu entre l’autoroute et le désert, le photographe Emmanuel Monzon exerce son art photographique à travers une série intitulée Urban Sprawl, Emptiness. Ce franco-américain diplômé de l’Académie des Beaux-Arts, basé à Seattle, explore l’urbanisme et l’Humain aux frontières du désert.

Dans les alentours de la mer de Salton, entre Bombay Beach et la Montagne du Salut, Emmanuel Monzon photographie des paysages qui le touchent, lui parlent et résonnent avec son travail artistique.

Urban Sprawl, Emptiness ; arriver à destination

La série Urban Sprawl, Emptiness (que l’on peut traduire par « Étalement urbain, vacuité ») a souffert des complications dues au Covid et au confinement, ce qui a amené Emmanuel Monzon à la sous-titrer « Je ne veux pas aller là où je vais, je veux juste vivre là où je suis » . Les photos témoignent de l’état d’un pays qui se trouve entre son passé glorieux et son présent chaotique et incertain. Les paysages figés de régions à l’abandon sont saisis et offrent en retour des visions poétiques d’une population nouvelle bien décidée à survivre.

J’ai récemment remarqué qu’il y avait une résonance entre cette série et le film Nomadland, qui est sorti récemment : où des personnages, qui sont pour la plupart marginalisés, et pour certains par choix, ont décidé de partir en dehors du monde. Un monde que l’on pourrait résumer par « Vous êtes arrivés et en même temps vous n’êtes jamais partis ».— Emmanuel Monzon

L'œil d'un peintre

Artiste plastique de formation, Emmanuel Monzon applique à sa photographie des codes propres à la peinture. Le sujet de ses photos, qui parlent et questionnent la transition du milieu urbain au milieu naturel, rejoint une méthodologie artistique unissant la peinture à la photographie.

Dans Urban Sprawl, Emptiness, le cadrage de ses photos est volontairement carré pour concentrer l’intérêt du spectateur sur le sujet, le mettant ainsi bien en évidence dans les compositions. La palette de couleur n’est jamais éclatante mais jamais terne non plus. Sous une lumière diffuse, elles s’harmonisent en des tons qui complimentent les clichés et aident à souligner un vide déjà explicité par le manque de sujets humains. Dans ces paysages naturels, ce ne sont que les éléments d’architecture urbaine qui se dessinent.

Le vide et la beauté

« Un homme est en effet une ville, et pour le poète il n’y a d’idées que dans les choses. »

— William Carlos Williams, Paterson

À travers Urban Sprawl Emptiness, Emmanuel Monzon explore le vide et trouve de la beauté dans celui-ci. Ces représentations désolées de paysages à la fois familiers et étrangers ne sont que des photographies mais laissent à entendre un silence assourdissant. Sans jugement ni dénonciation, le photographe extrait du mondain une forme esthétique ; exposant une réelle beauté, cachée là où la plupart d’entre nous n’accorderait qu’un regard furtif.

By Josse Lawniczak . Graine de photographe Magazine

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PAYNE GALLERY: Magical Seeing

14 September - 15 October  2023

Photography Karen Commings, Kathleen Gerber, Emmanuel Monzon, Thomas Maher, Lori Nix Luke Wynne - Curator

The group of photographers, Tom Maher, Emmanuel Monzon, Karen Commings, Lori Nix & Kathleen Gerber explore different aspects of the world in the viewfinder. These five artists give us different landscapes, cityscapes and dreamscapes to challenge and delight us. It is their use of Magical Seeing which offers viewers a rich tapestry to engage. Tom Maher has endeavored to use his lens to isolate and memorialize slices of the visual landscape. Emmanuel Monzon chooses man-made landscapes and a cool color palette to deliver un-peopled dream-like vistas. Karen Commings chooses to weave her work in the blackness of night as she points her lens at the nightscapes of Harrisburg, PA. The team of Lori Nix & Kathleen Gerber build elaborate dystopian tableaus, which they photograph, to comment on modern-day society.  These photographers employ the process of lens and camera to pick and choose what and how their worlds are seen. It is a view that we may have walked by but did not see. It is a view that is daring and provocative. It is a view worth investigation. It is “magical seeing”.

Payne Gallery

Payne Gallery is located on the Priscilla Payne Hurd Campus of Moravian University, in Historic Bethlehem, Pennsylvania, sixty miles north of Philadelphia and ninety miles west of New York City.

The Gallery is open noon - 4:00 p.m. Tuesday through Sunday.

The Gallery is closed Mondays, major holidays and during school breaks. Admission and parking are free, and the Gallery is wheelchair accessible.

Street Address: 346 Main Street, Bethlehem, PA 18018

CURATOR:LUKE WYNNE

[emmanuelmonzonphotography]

I don't want to go where I'm going I just want to leave where I am.

Around Wendover and Bonneville salt flats. UTAH.

Through my urban sprawl series I am asking myself : am I leaving a city or entering a new environment?

I like to play/'mix' two approaches: The codes of the new topographics and the concept of "in between-two states" inspired by the anthropologist Marc Auge under the name of non-places. I like transitional places, like intersections or passages from one world to another, such as from a residential area to an industrial area. I also like the tourist places altered by the human trace. We often find this feeling of emptiness, of visual paradox by travelling throughout the United States. The transition from one site to the next: You have arrived and at the same time you have never left. I believe that the expansion of the urban or industrial landscape in the American natural landscape has redefined this space and has become itself a "non-place."

In my artwork there is no judgment, no denunciation, only the picture itself. If I could sum up the common theme of my photos, it would be about emptiness, about silence. My pictures try to extract from the mundane urban landscape a form of estheticism. Where most people only pass through, I stop and look for some form of poetic beauty. I like repetition, I like series, and I like driving around.

''There are several common threads woven throughout Emmanuel’s photography. First, he only uses square frames to create a strong focus on the subject, and second, his photos always contain manmade structures or objects, but never any actual people. These two elements combine to cause viewers to perceive a deep void in the photos; an almost post-apocalyptic sense of isolation. By displaying structures humans built to serve their own needs, but in a rare state of absolute idleness, Emmanuel creates an eerily disconcerting environment. Looking at the photos, you can almost hear the chilly silence that’d accompany them.''.Press.

''Trained as a painter,Emmanuel Monzon is mindful of the grey texture of his photographs. His empty landscapes reflect his attachment to forms and colours, giving them space to beheard. To me, the series exhibited at Charbon art Space echoes both the human loneliness and the power of things against a lost American backdrop. This shadow looks like a calm rain of grey while one can hear the rustling leaves of the tree…'' (Caroline Ha Thuc, contributor ArtPress Magazine).

Curator: Sandrine Hermand-Grisel