Babel #1, 2007
Babel #1, 2007
Ilfoflex under diasec
Image: 23.6 x 31.5 in
Unique artwork
Signé et daté
Narcisse #18, 2008
Narcisse #18, 2008
Ilfoflex under diasec
Image: 39.4 x 63.7 in
Unique artwork
Signé et daté
Soldat #2 , 2011
Soldat #2 , 2011
Ilfoflex under diasec
Image: 78.7 x 48 in
Unique artwork
Signé et daté
Ascension #10, 2007
Ascension #10, 2007
Ilfoflex under diasec
Image: 25.6 x 23.6 in
Unique artwork
Signé et daté
Soldat #21, 2011
Soldat #21, 2011
Ilfoflex sous diasec
Image: 78.7 x 48 in
Unique artwork
Signé et daté
Soldat #23, 2011
Soldat #23, 2011
Ilfoflex under diasec
Image: 78.7 x 48 in
Unique artwork
Signé et daté
La Parabole des Aveugles, Diptyque #14 P, 2012
La Parabole des Aveugles, Diptyque #14 P, 2012
Ilfoflex under diasec
Image: 19.6 x 13.7 in (x2)
Unique artwork
Signé et daté
L'Atelier Calais #8, 2014
L'Atelier Calais #8, 2014
Ilfoflex under diasec
Image: 56.6 x 27.5 inches
Unique artwork
Signé et daté
L'Atelier Calais #28, 2014
L'Atelier Calais #28, 2014
Ilfoflex under diasec
Image: 56 3/4 x 27 1/2 inches
Unique artwork
Signé et daté
L'Atelier, Calais  #26, 2014
L'Atelier, Calais #26, 2014
Ilfoflex under diasec
Image: 56.6 x 27.5 inches
Unique artwork
Signé et daté
Vagabond, 2015
Vagabond, 2015
Ceramic, plaster, wood, bitumen glycero paint, textiles
Unique artwork
Atelier, Calais, 2014
Atelier, Calais, 2014
Installation (sculptures and 12 trestle) with wood, paint, plaster
Unique artwork
Romain Pichot-Duclos
Dessin n°42, 2015
Dessin n°42, 2015
acrylic and charcoal on paper
Unique artwork
Etude n ° 55, 2015
Etude n ° 55, 2015
Graphite et peinture glycéro sur papier
Unique artwork
Etude n°66, 2015
Etude n°66, 2015
Graphite et peinture glucéro sur papier
Unique artwork
Demoiselle, 2016
Demoiselle, 2016
Céramique émaillée, filasse, plâtre, bois
Unique artwork
Mars n°4, 2017
Mars n°4, 2017
Ilfoflex under diasec
Image: 20 x 52 inches
Unique artwork
Signé et daté
Vagabond, 2017
Vagabond, 2017
Vagabond
Plaster, tow, peint, cloth, wood
Unique artwork
Demoiselle, 2016
Demoiselle, 2016
Demoiselle
Glazed ceramic, tow, plaster, cloth, wood
Unique artwork
Demoiselle, 2017
Demoiselle, 2017
Demoiselle
Glazed porcelaine, gold, tow, plaster, wood, cloth, paint
Unique artwork
Méduse 6, 2017
Méduse 6, 2017
Méduse
Spray paint, graphite and epoxy paint on canvas
Unique artwork
Signé et daté
Méduse 9, 2017
Méduse 9, 2017
Méduse
Spray paint, graphite and epoxy paint on canvas
Unique artwork
Signé et daté

Thibault
HAZELZET

At first, Thibault Hazelzet's images can be quite puzzling: acting as reflecting surfaces which disconcert the viewer, their effects of transparency and reflection combine, challenging the images' legibility, between windows open to the world and inner mirror.

Concealments, scratching, traces, superpositions, stratums, all work together in creating unlikely perspectives and discordant spatial logics. The spaces exposed are neither completely present nor absent, but they are rather an undefined area in which three spaces interact, these spaces being, in fact, real, but of very different nature: the one of the studio of the photo shoot, the one of the ephemeral architectures built by Thibault Hazelzet for the occasion, and, final but not least, the one of the camera's photographic chamber itself. These three spaces unite and transform, with the action of the photographic process itself, to give birth to a fourth space, this time in two dimensions.

This « in-between » is a proposition for which Thibault Hazelzet takes full responsibility. For whoever tries to behold the secrets to these photographic limbs, a new interrogation arises regarding the unclassifiable technical process itself. Graphic pieces? Photography? Silver or numerical devices? Let's just say that the complex creative process (which we shall not reveal here) combines silver photography, graphic work and an architectural approach. Once completed, each unique proof will be accompagnied, on its reverse side, by the ektachrome from which it was generated : what may be perceived as a somewhat ostentatious gesture, integrates, in the end, an extremely coherent approach. In doing so, Thibault Hazelzet asserts the power of unicity, against the multiple nature of photography.

Inevitably, this assertion leads us to probe into how these images can relate to painting. Thibault Hazelzet himself encourages us in this direction by his use of titles for his series. Beyond their references to classical culture, the titles refer explicitely to a tradition of historical and religious painting. But once again the lead prooves unconclusive. It would be vain to believe that it is still possible, in a present context, to paint and represent great founding myths by any means other than reliefs. Hence the deceptive titles, which expose the absence and point out the emptiness : only traces and hints are left to see of the Danae and Depositions, which become spaces deprived of figures, scenes from which actors have dropped out, deserted architectures. From this perspective, each of these images could be spoken of in terms of a mental image : a collection of distant and muddled memories of pieces of painting which Thibault Hazelzet, in the seclusion of his studio, reactivates by other means.

On his photos, Thibault Hazelzet have a painter activity much as a photographer activity. It does not just capture what it finds in the world to give us to see, but seeks instead to compose an image, by hand, by craftsmen in the workshop and in the darkroom of the camera. The photograph is no longer considered just a tool for capturing the real, but as a creative tool, a system layer that covers and painted in the same room. The elements that we see have existed for a time, and the form of models that have been assembled in successive shots on a single negative.




Télérama Sortir

  • Thibault HAZELZET

Thibault Hazelzet // La Chambre

02.03.2016
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artpress

  • Thibault HAZELZET

  • Letha WILSON

Fantôme

21.10.2015
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Sud Ouest

  • Thibault HAZELZET

Le faiseur de photos

06.02.2015
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