The concept of gaze (often also called the gaze or, in French, le regard), in analysing visual culture, is one that deals with how an audience views the people, objects presented. The concept of the gaze was first discussed by 1960s French intellectuals.
This series is investigating the gaze in art, about what we expect to find behind Art while looking at it. These photos haven been taken at the Art Fair 2019 at Taipei.
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The site of Hue was chosen for its particular properties meeting the requirements of geomancy (Feng Shui) for the establishment of the Nguyen dynasty in the early nineteenth century.
Successively , the emperors prepared and built their graves for their last journey into the afterlife.
The vital fluxes still shine through these funeral palaces whose arrangement scrupulously follows the esoteric rules.
On the site of the tomb of the Emperor Minh Mang where the art of the garden and palaces is at its edge,
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This series highlights Confucian influences in the Vietnamese youth.
Portraits were taken at the cultural festival in the city of Hue, former imperial capital where scenes of mimes reconstituted the life in the Forbidden City. Models are wearing traditionnal ao dai dress.
Fans’ images are Chinese historical fan from the MET Archive.
The series uses the framing of drawings and paintings which is the common manner to see images on a wall or in a book.
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Photography is about questioning of what reality is and what is captured by the camera.
It is nowadays stimulated by the concept of « hyper-reality » defined by J. Beaudrillard.
It is the inability of consciousness to distinguish reality from a simulation of reality.
This is particularly relevant nowadays where people accept created environments as primarily models, when they are actually all fake.
Video mapping can express the dissolution of the reality into a form that have any reference to the initial architecture.
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Photography is about questioning of what reality is and what is captured by the camera.
It is nowadays stimulated by the concept of « hyper-reality » defined by J. Beaudrillard.
It is the inability of consciousness to distinguish reality from a simulation of reality.
This is particularly relevant nowadays where people accept created environments as primarily models, when they are actually all fake.
Territories fade into entertainment parks, symbols of hyperreal powers.
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The psychological consequence of motion through the hyper-real world is, expressed by the 360° serial photography of Honda models sold in Vietnam’s market.
This series is telling the temptation of Siddhārtha Buddha by the Goddess of Beauty, in an imaginary paradise full of flowers. As principle of Buddhism, the Middle Way should be followed between the extremes of sensual indulgence and self-mortification. But it is not easy to comply strictly with this recommendation.
Seeing photography is more an analogic process than a logic one, with a sense of humor too. This is how the series should be appreciated as a fairy tale.
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“Dream objects” subject has been developed by the Surrealists. The chance meeting of a strange object, a “slipper spoon”, provoked a sense of déja-vu to poet André Breton. That object was analyzed later as an artifact from his dreams.
This could be anywhere but on the beach with sunshine.
With an architecture for international tastes, the rooms’ decoration add a specific touch of Asia with some traditional furniture.
Rooms are with view on the sea and private swimming pools. For couples in honeymoon, the beds are king-size or queen-size.
The empty theater looks familiar, all built for ultimate luxury.
In the no man’s resort, nobody should come for the simulacrum to remain perfect.
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Neons of luxury are glowing on the deserted avenue. The glass facades reflect the logos that spread their mystical light in the night, a continual desire generated by billions invested of advertising. From Paris to Saigon via Hong Kong, it flows throughout the journey with the same stage direction.