It is striking to note in the corpus of images that follows the quasi-eviction of the human figure, at least the obvious disinterest in its individuality, thereby establishing a relationship of avoidance, to use an ethnological terminology of our own. In contrast to the glory days of humanist photography, faith in man seems to have died out. Attached to him, dare we say, is a form of guilt inherent in his action (or inaction), or even in his very essence, which condemns him to the banishment of the image, as after the revelation of the death camps he became unrepresentable for painters.It
Rethinking, reinventing the exterior landscapes to better explore the interior landscapes, and telling the story of the links that unite us to nature, to our environment: Marine Lanier takes us into “the lyrical and primitive dimension” of nature, “to question the wild power that surrounds”. She immerses us in the vegetal particularly with her series of organic monochromes Eldorado, which shows the thick flora of an abandoned nursery. Nature is captured in its raw state, it is personified, and its mysteries grab us, and they escape us.
Marine Lanier’s photos bring to light a primary vegetation, where the elements appear and interact : stones, rocks of cliffs, deep waters of waterfalls, earth, ice, but also skin and blood… Her universe is a wild and original, which sends beings back to their primitive impulses. In the series The Sun of the Wolves, made in the Ardèche region on a territory located above a volcano, Marine Lanier shows two children whose bodies are in symbiosis with this rough and mineral space. For three years, the photographer has followed the journey of two brothers, a film camera in hand: ludicrous, indomitable nature masterfully absorbs the silhouettes of these lawless teenagers.
Approaching landscape photography today as a young emerging artist is not an easy task. The landscape today is polluted, not only by ancient and recent history, and by our excesses of consumption, production and exploitation but also by the crossing of man, whether it is desired or constrained, free or obliged.
When Lisa Kohl arrived in 2016 on the Greek island of Lesbos, she was confronted with the idyllic landscape of the Aegean island where the sky and the sea are deep blue, almost unreal, opposed to the thousands of migrants from Turkey who arrived in search of an acceptable and dignified life.
In the series of photographs LAND(E)SCAPE, the artist bears witness with a very subtle and sensitive artistic language to this human tragedy and to the fate of these men, women and children who have fled terror to find themselves in another nightmare, the end of their dream of freedom and peace.
By photographing abandoned, forgotten and lost objects, the artist creates a new landscape, a land(e)scape, which by its absence suggests presence to us. The objects are elevated to the status of icons. By discovering them one by one, the spectator has access to the intimacy of those people. He can meet them, see them and hear them. He is overwhelmed with emotions. Forgetfulness does not occur because history is written through Lisa Kohl’s photographic language.