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Writer's pictureJaamZIN Creative
Mar 11, 20201 min read

Photographer Frederic Chais


This image of Venice belongs to the series "Past vivencia". It questions the process of entropy of our world through a subject, Venice, that is constantly and endlessly sinking. The city, whose walls protect so many artworks, unavoidably goes toward its loss. As this city, our body will also end up being submerged, leaving us only the memories of our moments wholeheartedly lived ("vivencia"), as an imprint of what we have been.
This image of Venice belongs to the series "Past vivencia". It questions the process of entropy of our world through a subject, Venice, that is constantly and endlessly sinking. The city, whose walls protect so many artworks, unavoidably goes toward its loss. As this city, our body will also end up being submerged, leaving us only the memories of our moments wholeheartedly lived ("vivencia"), as an imprint of what we have been.

As a visual artist, I have worked a lot on the change of the image's meaning through loss of legibility of its subject, achieved through different processes such as alteration. The pictoric ambiguity of the photography can then make us become aware of the ephemeral aspect of the image, but also of the distance between reality and what we keep from it. In the same way that a memory keeps building permanently, an image's reading evolves according to our emotions.


These view of the Grand Canal is an illustration of the loss of the image, visible into its own photographic matter. This slide’s gelatin still speaks to our imaginary, sketching palaces in an aquatic agony. It’s our own look that will give it a value -or refuse it -, through the field of meaning that it invites us to display in our mind. And it is by establishing an intimacy with the image and allowing our unconscious to project - building that bond of referent - that an emotion would be able to arise.
These view of the Grand Canal is an illustration of the loss of the image, visible into its own photographic matter. This slide’s gelatin still speaks to our imaginary, sketching palaces in an aquatic agony. It’s our own look that will give it a value -or refuse it -, through the field of meaning that it invites us to display in our mind. And it is by establishing an intimacy with the image and allowing our unconscious to project - building that bond of referent - that an emotion would be able to arise.

We constantly re-create our own story, in the same way that we invent our own reading of the images presented to us. Reality is only an excuse for the creation of a shared space between the photography that proposes and the viewer that re-invents a meaning exclusive to himself or herself. Fragility, loss and impermanence come to reinforce the awareness of the fact that the subject is no more, inviting us to rush and grasp the few bits that still remain.


In certain series, the picturalisation of the image replaces the alteration, providing another way to achieve a resignification of the photographic medium.

This last image is a photography, as its frame shows: the number 4. But it is equally that broken stained glass where the empty look of a blue face (a reference to Klein) fades out. Actually, the webs that fragment the image, as well as the colours that come off the support, create a kind of abstract chaos where matter becomes the real subject.
This last image is a photography, as its frame shows: the number 4. But it is equally that broken stained glass where the empty look of a blue face (a reference to Klein) fades out. Actually, the webs that fragment the image, as well as the colours that come off the support, create a kind of abstract chaos where matter becomes the real subject.

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