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El santero

$808
Photography
From a limited edition of 10 | Framed and Ready to Hang
Recipient of the dedication:

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Technique
Digital photography
Type
Limited edition of 10
Material
Aluminium
Dimensions
40 x 60 cm
Framing
Yes (42 x 62 cm)
Quality Guarantee
Sold with a certificate of authenticity

El Santero is the portrait of the man who was my guide in Cuba. In spite of the language barrier we discovered each other little by little, and his pose during this photo describes his solar part: pride, confidence, life from day to day... This fervent believer was inexhaustible on voodoo theology, and what I heard was gently infused in me. The phrases and symbols in the picture are based on the litanies and geomancies of Santeria.

Axel Pilyser

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

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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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