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Sandrine Hermand-Grisel
Sandrine Hermand-Grisel
Sandrine Hermand-Grisel

Sandrine Hermand-Grisel

Country: France
Birth: 1973

Sandrine Hermand-Grisel grew up in Paris, France and in London, UK. She studied International Law before deciding to dedicate her life to photography in 1997. Influenced by her late mother's sculptures and her husbands paintings and films, she worked on several personal projects before her series Nocturnes was recognized in 2005 by Harry Gruyaert, Bertrand Despres and John Batho for the Prix Kodak de la Critique Photographique. In 2006 she moved with her family to the United States and began experimenting landscape photography with her series Somewhere and On the road.

Despite the diversity of her projects she has a unique, very intimate, relationship with her subjects. Photography provides her with a way to express her feelings, like in the series ''Nocturnes'' where she photographed only close friends and family members peacefully abandoning themselves in front of her camera. ''Somewhere'' is her dream of America, a road trip through her adopted country. And ''Waterlilies'' is full of joy and love for her two children as she watched them jumping and playing in pools over and over again. Sandrine Hermand-Grisel not only photographs what she loves, she breaks free from her own reality in her poetic vision of the world.

In 2013, she created the acclaimed website All About Photo and now spends most of her time discovering new talents while still working on personal projects.

All about Sea Sketches

Since I was a little girl my parents insisted that my brother and I accompany them almost every weekend to see an exhibition, a museum or an historic house. What was excruciating at first slowly became a real pleasure. Thanks to them, I had the privilege to see incredible exhibitions both in Paris and London where I grew up. Depending on my age and moods at the time, I favored a century, a movement, a painter...

It was love at first sight when I discovered "Wanderer above the Sea of Fog" by Caspar David Friedrich. In the foreground, a young man stands upon a rocky precipice with his back to the viewer. He overlooks a landscape covered in a thick sea of fog. I was overwhelmed by the beauty of nature, the subtle colors, the calm and yet the movement that came from the wind.

I perceived the character as content and in harmony with nature and I wondered if one day I would find my perfect place... and many years later, I did. On the west coast of Florida lies Anna Maria, a quaint barrier island nestled in the Gulf of Mexico. The water is warm and turquoise, the sand is white. Well preserved, the birds and turtles come here to nest while the respectful tourists lie on the sand every night to witness the incredible sunsets. Time is suspended.

With the romantic painters Turner and Friedrich in mind, I captured a glimpse of Anna Maria, its light, its beaches, its movement, its unleashed elements... I hope you will immerse yourself in my Sea Sketches "paintings" and escape with me, even for the length of a sigh, from the harsh realities of life and share my happy place.
 

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Laurence Leblanc
Laurence Leblanc was born in Paris in the early days of June 1967. Starting her artistic training early on, she studied drawing, painting, and gravure as a child at the Musée du Louvre’s Ecole des arts décoratifs. Later on Leblanc studied visual art at the Academie Charpentier, at its historic La Grande Chaumiere workshop located in Paris. "Each of us has to tell something that nobody else can tell" -- Wim Wenders. Leblanc always had a deep desire to convey her world a little differently and it was in that spirit that she covered Peter Gabriel’s Secret World Tour in the 90’s, travelling large parts of the world with the British musican over the next two years. In 1999, Leblanc came to the attention of art critic and curator Régis Durand who described her work as : « It exists in these pictures a kind of familiar fantastic, a mix of ordinary poetry and some strangeness » Whatever the medium, the act of creation for Laurence Leblanc comes after gradual impregnation with the subject and his or her environment. The results are often carefully thought-out and reflect both the expansive and minute of the subject and, their context. Cambodian filmmaker Rithy Panh said of Leblanc that: « Her pictures look like souls… the fuzzyness is not fuzzy, the grainy asppearance is not grain, life is not exactly life. Yet it is not death either, and I like being led on this narrow territory between the two » Leblanc is the winner of awards such as the Villa Médicis Hors–Les–Murs scholarship in 2000, and the HSBC Fondation prize in photographie in 2003. In 2003, Peter Gabriel wrote in the preface of her first book Rithy, Chéa, Kim Sour et les autres "Laurence has continued to explore new areas in her work, and I have watched her develop into an extraordinary artist" Leblanc’s second book Seul l’air was published in 2009 by Actes Sud. At the same time her exhibition Seul l’air consisting of work from Africa was presented at the 40th International Photography Festival in Arles. Always expanding her range of learning and creating, Leblanc responded to radio producer and writer Frank Smith’s proposition to create a sound piece for the Atelier de Création Radiophonique. The final 53 minute sound piece was broadcast on France Culture in July 2008. Leblanc also collaborated on the « Sometimes I think Sometimes I don’t think » project with the Domaine de Chamarande. Bulles de silence, a 19 minutes film, written, produced and directed by Leblanc, was selected and premiered at the Museum’s Night in the Niepce’s Museum in May 2015. Laurence Leblanc silently follows her own solitary artistic path which leads her to the field of contemporary photographic creativity, yet her strongest ally is time, the time given (and taken by the artist) to observe and to mature. Represented by the Claude Samuel gallery in 1999 then by the VU’ gallery from 2001 to 2015 Leblanc is a regular at: Art Paris, Art genève, and at Paris Photo since her début there in 1998. Leblanc’s works can be found in collections ranging from the prestigious National Trust for Contemporary Art in France, the Niépce Museum in Chalon-sur Saône, the French National Library, the HSBC Fondation & Collection, as well as in various private collections includng that of Marin Karmitz. We can see one of her picture in the exhibition « Etranger résident » Marin Karmitz’s collection from 15 october 2017 to 21 january 2018 in la maison rouge – fondation Antoine de Galbert. Source: laurenceleblanc.com
Nick Turpin
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1969
Nick Turpin is a British street photographer and advertising and design photographer. He is based in London and near Lyon, France. He studied an art and design foundation course at the University of Gloucestershire, specializing in photography; then a BA in photography, film and video at the University of Westminster. Whilst at university he showed his second-year photojournalism stories to the picture editor at The Independent and in 1990, aged 20, quit his course to be a press photographer for the newspaper. He left The Independent in 1997 for a career in advertising and design photography that would finance his street photography (for example he photographed the cover of Bridget Jones's Diary (1995) by Helen Fielding). Turpin established the first international collective of street photographers, In-Public, in 2000 with the intention of bringing together like-minded photographers to hold exhibitions, produce books, and conduct workshops. Colin Westerbeck, writing in Time in 2011, said Turpin was "notable for having been instrumental in a collaborative documentary project", namely In-Public. He left the collective in 2018. His work has been published in his own book, On The Night Bus (2016), and in various survey publications, as well as being included in a number of group exhibitions. He publishes through Nick Turpin Publishing, makes short films, and gives workshops on street photography.Source: Wikipedia Artist Statement "There is something about the making of photographs in public places that resonates with me more than any other kind of photography. I think it simply suits my personality. It’s nice, when taking pictures in the street, not to have to participate in any way in the stream of life passing you by. It makes me feel special to be there but not to be chatting, not to be shopping or not even to be heading for somewhere else. I feel like I am invisible to the passing crowds. This in turn leads to a loss of my sense of self, which is the finest feeling of all. Having worked for several years both in newspapers and advertising, I am fascinated by the things that I ‘choose’ to photograph when I leave the house with my camera but without a ‘story’ or ‘brief’ to fulfill. These ‘choices’ are revealing,in some way, of who I am. I go to the busiest, public places to discover something very personal and private. It is an inescapable truth that the resulting photographs are as much about my inner state as they are about the external world they were made in. They are all self-portraits. It is important to me that my personal pictures don’t have to ‘do’ anything. They don’t have to sell in a gallery or sit well beside the ads in a magazine. I don’t have to make pictures that are easily categorised. They are not reportage, there is no subject, they are not art, there is no great technical craft or aesthetic beauty. They are just pictures about life. For these reasons, Picture Editors, Art Directors and Curators don’t know what to do with them, where to put them. I like that." -- Nick TurpinSource: In-Public
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United States
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Myrtie Cope
United States
1950
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United States
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