Portraits of artists
Worked in a pictorial spirit near to Sfumato my portraits of artists fall under a kind of docu-fiction on characters resulting from creation. The glance of the model rivetted - with its agreement - on the objective, leaves its virgin print which passes then by the compromising trap door of the plastics technician - between Harcourt and Orlan and perhaps with the blessing of Diane Arbus.
The image, kneaded in the computer, then tries to isolate the character by privileging contour on the detail. Sometimes Grains and pixels amalgamate - silver and binary - to confer a representation in quasi anthropological matter.
I made a point of organizing all the meetings photo at the time of the balances before the spectacles or right before the interventions.
Indeed I often found there at these times of the stress combined with apprehension which, seems to me it, gave to the model a glance in charge of a tension mingled sometimes with an off-hand attitude - closed face or half smile or smile…
The catches of sight were most of the time envisaged days even of the weeks in advance.
The artist lent his image and a little his time on his work place.
One will find indeed in the situations of catch of sight of the recurring conditions: the place (work places), the moment (right before its service), time (the meeting must be fast) and finally the universe (cabins, cinemas, theaters, concert halls conference rooms…).
All the stereotypes of the series “Delights of Facies” were carried out by the author with the agreement of all its models.
Jean Hincker, 2008
PHOTOGRAPHIC PHILTER
by Corinne Guichet*
Contemporary photography is not only any more this average technique of reproduction of the visible one. The artists are inventors of images.
Since the Seventies, it knew to be integrated into the fields of the Art-Plastics. It is a medium with whole share.
To treat portrait returns to the reflection of the mirror. The myth of the Narcisse in love with his image seems obvious. The Moors work place of Jean Hincker have this face familiar of grounds (in the past) marshy, wet and misty. This image reflected by the gleaming wave attracts our artist.
She answers this esthetics of the spot - a form which is not fixed - stopped, but source of inspiration. It is necessary to read again the “Treaty of the Painting” of Léonard de Vinci and to again look at the clouds, muddy water, here is a council which the contemplative photographer knew to listen to. It is well an esthetics of the spot, this force envoûtante of a mezzo confuso which wraps its portraits.
We find in Sfumato this constancy of the form free, vaporous, moving. The portrait is not fixed under a mask which stops the form.
Wax skin, the portrait can renew and stimulate the spirit of invention.
The queen of faculties is imagination affirmed Breton and Baudelaire. At the XXe century, the Surréalistes artists knew to develop these images coiled between dream, unconscious and reality.
Instead of painting the heart, on going towards the interior, the surrealist artist decides to represent only the skin.
To be interested in the portrait, to use the face, do not raise any more of the reflection only but it becomes a material - modelable and constitutive of work.
Jean Hincker is aware to model the flesh, but it respects too the portrait. The gumming is done more extremely. For our photographer, the character, the identity, the conscience, the mysteries of the individual are in the center of his project. Jean Hincker distills the skin to extract the drop haloed from light, revealing of the mystery, the poetry of the truth of the model. He deviates from appearance, of the resemblance for revealing best.
Speaking about the portrait, Francis Bacon will say “with their face you must try to collect the energy which emanates from them”. In the facies of Hincker the vaporous distortion invites us to us délecter reflection to be it.
* Corinne Guichet is Agrégée Visual arts and former student of the ENS of Cachan
Section Arts and Industrial Creation.
She has taught for ten years with the college of Tartas - Landes (France)
Worked in a pictorial spirit near to Sfumato my portraits of artists fall under a kind of docu-fiction on characters resulting from creation. The glance of the model rivetted - with its agreement - on the objective, leaves its virgin print which passes then by the compromising trap door of the plastics technician - between Harcourt and Orlan and perhaps with the blessing of Diane Arbus.
The image, kneaded in the computer, then tries to isolate the character by privileging contour on the detail. Sometimes Grains and pixels amalgamate - silver and binary - to confer a representation in quasi anthropological matter.
I made a point of organizing all the meetings photo at the time of the balances before the spectacles or right before the interventions.
Indeed I often found there at these times of the stress combined with apprehension which, seems to me it, gave to the model a glance in charge of a tension mingled sometimes with an off-hand attitude - closed face or half smile or smile…
The catches of sight were most of the time envisaged days even of the weeks in advance.
The artist lent his image and a little his time on his work place.
One will find indeed in the situations of catch of sight of the recurring conditions: the place (work places), the moment (right before its service), time (the meeting must be fast) and finally the universe (cabins, cinemas, theaters, concert halls conference rooms…).
All the stereotypes of the series “Delights of Facies” were carried out by the author with the agreement of all its models.
Jean Hincker, 2008
PHOTOGRAPHIC PHILTER
by Corinne Guichet*
Contemporary photography is not only any more this average technique of reproduction of the visible one. The artists are inventors of images.
Since the Seventies, it knew to be integrated into the fields of the Art-Plastics. It is a medium with whole share.
To treat portrait returns to the reflection of the mirror. The myth of the Narcisse in love with his image seems obvious. The Moors work place of Jean Hincker have this face familiar of grounds (in the past) marshy, wet and misty. This image reflected by the gleaming wave attracts our artist.
She answers this esthetics of the spot - a form which is not fixed - stopped, but source of inspiration. It is necessary to read again the “Treaty of the Painting” of Léonard de Vinci and to again look at the clouds, muddy water, here is a council which the contemplative photographer knew to listen to. It is well an esthetics of the spot, this force envoûtante of a mezzo confuso which wraps its portraits.
We find in Sfumato this constancy of the form free, vaporous, moving. The portrait is not fixed under a mask which stops the form.
Wax skin, the portrait can renew and stimulate the spirit of invention.
The queen of faculties is imagination affirmed Breton and Baudelaire. At the XXe century, the Surréalistes artists knew to develop these images coiled between dream, unconscious and reality.
Instead of painting the heart, on going towards the interior, the surrealist artist decides to represent only the skin.
To be interested in the portrait, to use the face, do not raise any more of the reflection only but it becomes a material - modelable and constitutive of work.
Jean Hincker is aware to model the flesh, but it respects too the portrait. The gumming is done more extremely. For our photographer, the character, the identity, the conscience, the mysteries of the individual are in the center of his project. Jean Hincker distills the skin to extract the drop haloed from light, revealing of the mystery, the poetry of the truth of the model. He deviates from appearance, of the resemblance for revealing best.
Speaking about the portrait, Francis Bacon will say “with their face you must try to collect the energy which emanates from them”. In the facies of Hincker the vaporous distortion invites us to us délecter reflection to be it.
* Corinne Guichet is Agrégée Visual arts and former student of the ENS of Cachan
Section Arts and Industrial Creation.
She has taught for ten years with the college of Tartas - Landes (France)
