I don’t ordinarily cover photography here on Lines and Colors, partly because it seems a little off topic, but largely because I feel it’s covered better elsewhere.
However, I couldn’t resist the delightful digitally-composited photographic fantasies of Jean-François Rauzier.
Essentially a form of digital collage, Rauzier’s “Hyperphotos” composite landscapes, animals, and above all, architectural elements, into grand fantasies of imaginary towers, cityscapes and monuments, exploring in the process fantastic perspective, recursion and the visual sensation of infinity.
Rauzier presents his work on his website in an interface that grants you the ability to view the pieces full-screen and zoomable. In this mode their fascinating details, often too small to be visible in the initial image, are revealed as you zoom deep into the high-resolution images.
His monumental and elaborate architectural spaces reveal worlds of ornamentation, inset images within images, alternate spaces and hidden figures.
Rauzier’s online portfolio is divided into series with themes; my favorites are Extraordinary Voyages, “Dédales“, Scénes and the languorous reclining figures of his Sleeping Beauties series (images above, bottom two); though all of the sections are worth investigating.
At times Rauzier’s work puts me in mind of the highly detailed large scale photo-collage compositions of Emily Allchurch, though hers have a different intent. Both are inspired in part by the wonderful “capricious inventions” of the 18th Century etcher and engraver Giovanni Battista Piranesi (also here).
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