When he captured Automorphoses that the locals would pass by unaware, Pierrick Gaumé discovered how anamorphoses of cityscapes resemble human organs.

Beyond possible analogies to Dali's molten clocks and Escher's tricky use of perspective, these reflections of buildings seem to bend, wrap around and curl against one another as if Paris or San Francisco were a giant organism made up of many interconnected bodies.

Their undulations may recall those of blood vessels, and their repeating geometrical shapes evoke the process of cell division.

We wonder: can the machines that Gaumé pictures be forced back into natural patterns simply by the oblique sunlight acting randomly on their concave and convex volumes?

In the footsteps of Andrej Kertesz, Ray Metzker, Klaus Lang and Max Forsythe, Gaumé creates works about mirrors and reflections.

He pictures richly colorful and curvy street scenes in which for a brief instant the automotive details come to life.

Evincing a shininess both glacial and warm, they hug buildings and people with their muscular shapes.

Jeanne M. Lesinski

Independent writer (United States of America)
Bill Gates biographer (Lerner, 2007)
302 photos · 4 views
1 3 4