France’s Geometry Revealed in Michael Kenna’s Photographs
Kenna is obsessive about the craft of his photography, carefully controlling all the aspects of his practice. He works in explains. “It’s akin to seeing the brushstrokes in a painting.” In his pictures of Paris, such as PASSY METRO, PARIS, 1991 (1991) and PONT DES ARTS, STUDY 3, PARIS, FRANCE, 1987 (1987), the perceptible grain of the photograph enhances the rich texture of the storied city. The foggy ambiance of the scenes enlivens the city, despite the pains Kenna goes to in order to minimize the passersby in his pictures, preferring to focus on the space rather than its pedestrians.
Atmosphere is important to Kenna, who uses long shots, often shooting at night, as in FULL MOONRISE, CHAUSEY ISLANDS, FRANCE, 2007 (2007). The development of that nighttime sky, with arcs of rising celestial bodies, takes a long time. Nonetheless, as Kenna explains, he is open to inspiration striking suddenly: “Sometimes I specifically set out to go to a place or a particular subject and photograph there. Sometimes I stumble upon places. At times I’ve used other photographers to inspire me, like
One of the artist’s most beloved subjects is naturally occurring symmetry. In SHELLFISH WALLS, CHAUSEY ISLANDS, FRANCE, 2007 (2007) and JARDIN DES PLANTES, STUDY 1, PARIS, FRANCE, 1988 (1988), the corridor-like landscape of trees and paths leads the viewer’s eye through the image and into its background, travelling as one’s body might move through such spaces. The effect is both elusive and inviting, a call to explore a beautiful land.
“Michael Kenna: France” is on view at Beetles + Huxley, London Jan. 28–Feb. 21, 2015.
Marc Quinn Iris
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