The Saul effect

When he is not painting, Saul Leiter takes photos of his neighborhood.
As color printing is expensive, he simply broadcasts his projection slides at home with of a group of friends "At the end, we applauded each other."
The compliments of his close friends remain the only good ones he got because nobody else was interested in the work of Saul Leiter.

In the 50s, the trend is photojournalism and documentary image in black and white.
The color is associated to glossy magazines and advertising, the great Walker Evans even says that "this is vulgar".
Became fashion photographer at harper’s Bazaar for a living, in his studio in Downtown Manhattan, Saul Leiter does not matter and is still working again and again on color and on the particular framings.
For nearly forty years, he walks through the streets of New York and, in a painter's approach, he captures his subjects with specific tones shots and with a misty and delicate blur.
He "paints" subjects mocking the established rules, he makes fun of framing, of plans and of depth to let the viewer look be diluted in the different levels of his photos.
His color slides are stacked in boxes, moldy, burn and disappear over time...


 

Self-taught, Yohann Gloaguen embarked in audiovisual production after his studies.
He goes through the big cities of the world and logically began photographing the places he passes through seeking to capture the atmosphere that emanates from it.
Captivated by the urban life scenes, the artist is "always looking for the magic of the moment."

Admiring the artworks of Saul Leiter and Tony Soulié, he works exclusively with black and white photos printed on aluminum by enhancing it with colorful touches that emphasize some visual elements.
His drips made from inks and vinyl paintings or stained glass offer new perspectives to read his artworks.