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$2,095
Photography
From a limited edition of 5 | Framed and Ready to Hang
193 x 84 cm
Recipient of the dedication:

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Delivered with a certificate of authenticity

Technique
Digital photography
Type
Limited edition of 5
Material
Aluminium
Dimensions
193 x 84 cm
Framing
Yes (195 x 86 cm)
Quality Guarantee
Sold with a certificate of authenticity

This photo is not retouched at all, just cropped. I took it at the end of the pier of Dublin harbour, after a long walk where I passed an old Irish couple...who passed me every time I stopped on a tag, material, graffiti. When I arrived at the lighthouse, they were sitting on the pier and they were the ones who drew my attention to the text I had photographed mechanically, without deciphering it, already turning me around to leave. I took the photo again...but I didn't understand the karcher's track until I got back. When I don't want to...

Axel Pilyser

Printed on Epson cold press bright digigraphed paper / framed in american box

artist avatar

Axel Pilyser

16 fans

paris (75), France

32 works

Axel Pilyser was born in France in 1964. He discovered photography at the age of fifteen using an old Pentax, three tanks and an enlarger. After studying at the Louis-Lumière school and starting out as a set photographer, he worked as a director-editor in political (Michel Field, Cyberculture) as well as entertainment (Decode pas Bunny) programmes before returning in 2010 to the still image through large luminous tableaux inspired by urban photography. Since 2018, he devotes himself essentially to his personal projects as a visual artist, incorporating into the walls of a territory the portraits and written traces of those who live there: Walls, you go there, you stay at the foot, it's up to you. For others, we make foundations, build, protect, separate. For me, from the caves, it's a wonderful medium to tell stories: poetic, religious, political, love stories... I work by associating ideas, mixing images, empiricism. My goal is to tell a story while leaving others the possibility to see another one. I use original photographs reworked on computer, printed on digigraphic paper with a lot of texture. The effect obtained, close to painting, allows me to affirm my fictional and aesthetic bias. We go into the wall, of course, but we can look for a bit of beauty in the catastrophe.

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