Reverie
This book, divided into emotional chapters, opens the doors to a singular vision of the portrait and the staging of each of these women. They have been scrupulously chosen for their singularity, plung-ing us at the same time into the macro-portrait and cinematographic universe that Laurent Castellani is particularly fond of, notably Lynch’s dreamlike universe.
Between shadow and light, the grain of the skin, the slightest shiver is exacer-bated. Laurent Castellani plays the close-up shot as an expression of its relationship to space. The macro-portrait is the art of exploring the beauty close at hand and creating intimacy, the image creation pushing us to whisper. Laurent oscillates at the border of reality and imagination in his photos as in his films. Each shot is an emotion. Beauty emerges, natural and wild. Minimalist in the soul and in his approach, Laurent Castellani seeks above all the essential: a vibration.
Being agoraphobic means being constantly confronted with yourself. It's defending an ordinary life. To be agoraphobic is to observe an inner duel where the unconscious always comes out the winner. To go out is to suffer. Laurent built up on this and managed to transform his suffering into a strength. Provoking motionless journeys, experiencing the creation of macro-portrait. The photographer plays with distances and space. His "Mulholland Drive" series, included in the book, was born one summer night under the Cheviré bridge in Nantes. These pictures are bewitching, timeless, almost frightening, caught in the darkness of an urban setting.
Reverie
This book, divided into emotional chapters, opens the doors to a singular vision of the portrait and the staging of each of these women. They have been scrupulously chosen for their singularity, plung-ing us at the same time into the macro-portrait and cinematographic universe that Laurent Castellani is particularly fond of, notably Lynch’s dreamlike universe.
Photographer: Laurent Castellani
Laurent is a French photographer and creative director celebrated for his minimalist yet intensely focused work.
A Map of the Shadow Self
In the minutes after the sun has set or just before it rises, the world seems to lose its dimension. Shadows disappear, and the sky takes on a blue heaviness that seems to flatten the landscape into a single, monochromatic plane. For Gabriel Isak, this blue hour can be understood as a visual synonym for almost a decade of his life.
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