Mr baba

$903
Photography
From a limited edition of 12
60 x 90 cm
Recipient of the dedication:

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Technique
Digital photography
Type
Limited edition of 12
Material
DiBond
Dimensions
60 x 90 cm
Framing
Quality Guarantee
Sold with a certificate of authenticity

"It was after a good meal, under the awning, in a huge courtyard where grapefruits were growing. A young woman was breastfeeding twins, and as the one waiting shouted impatiently, a grandmother suddenly took her old breast out of her bodice and gave it to the baby, who immediately fell silent. I took my camera out by reflex, aimed and put it away immediately, without triggering, a little ashamed. I turned to the old man, who had seen everything, and I took this picture, my first portrait from that distance." Axel Pilyser

Printed on 3 mm dybond, fine art paper

artist avatar

Axel Pilyser

6 fans

PARIS (75), FRANCE

26 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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