vincent le texier
reflections

Why does one take photos? Why do I photograph these scenes, locations that chance has brought me to through my engagements? To remember places I shall perhaps never visit again? Or, for memory’s sake, to record these towns and understand them better? Yes certainly, but also, and much more, I think, to continue being a painter, the direction I first took before choosing music and singing, and which I miss, or rather which is always immensely present in me and needs to express itself one way or another. Less of a reportage or testimony, it is painting through images, taking what is offered to my eyes as the raw material, instead of the pigmentsframing, extracting from reality a detail that then becomes autonomous, self-sufficient; on the look-out for the marginal, the inner, beyond the superficial or tourist vision. Also, to nourish my fascination for the beauty of things that have lived, that have undergone a transformation, that are the result not of one simple action but a multitude of combined actions &ndashtime, the elements, the action of man, chance – how beauty resides almost inevitably in all things marked by life, a crushed leaf on the tarmac of a road, the mottled side of an old goods wagon, the dusty window of a fishing association in Lübeck, or of a Venetian marble-cutter: everything whose beauty does not derive from order and perfection but exactly the opposite, the fruit of time and chance, a hidden logic that baffles the human need to always understand. The mystery of a beauty that is not just the result of intention, where anyone can savour – beneath the façade and far from the perfection of technological objects that manageWhy does one take photos? Why do I photograph these scenes, locations that chance has brought me to through my engagements? To remember places I shall perhaps never visit again? Or, for memory’s sake, to record these towns and understand them better? Yes certainly, but also, and much more, I think, to continue being a painter, the direction I first took before choosing music and singing, and which I miss, or rather which is always immensely present in me and needs to express itself one way or another. Less of a reportage or testimony, it is painting through images, taking what is offered to my eyes as the raw material, instead of the pigmentsframing, extracting from reality a detail that then becomes autonomous, self-sufficient; on the look-out for the marginal, the inner, beyond the superficial or tourist vision. Also, to nourish my fascination for the beauty of things that have lived, that have undergone a transformation, that are the result not of one simple action but a multitude of combined actions &ndashtime, the elements, the action of man, chance – how beauty resides almost inevitably in all things marked by life, a crushed leaf on the tarmac of a road, the mottled side of an old goods wagon, the dusty window of a fishing association in Lübeck, or of a Venetian marble-cutter: everything whose beauty does not derive from order and perfection but exactly the opposite, the fruit of time and chance, a hidden logic that baffles the human need to always understand. The mystery of a beauty that is not just the result of intention, where anyone can savour – beneath the façade and far from the perfection of technological objects that manage less and less to grow old (but even they, one day, it just needs time, even they will acquire this different beauty if they last long enough) – these silent, humble treasures, which are happy just to be there, without raising their voice or especially hoping to get themselves noticed… less and less to grow old (but even they, one day, it just needs time, even they will acquire this different beauty if they last long enough) – these silent, humble treasures, which are happy just to be there, without raising their voice or especially hoping to get themselves noticed…

Lübeck - 2006
Stuttgart - 2006
Venezia - 2005