Karine Laval, ‘Untitled #105 (Heterotopia)’, 2017, The Kitchen

Courtesy of the Artist.

Karine Laval’s photograph Untitled #105 (Heterotopia) draws from French philosopher Michel Foucault’s use of the term heterotopia to designate the representation of a social utopia or space of otherness. For this work and other pictures in the series of which it is a part, Laval has photographed both public and private gardens internationally, turning their natural, physical appearance into otherworldly, illusionistic phantasies through her use of mirrors, glass, and artificial light. All of the distortions, transparencies, and hallucinatory coloration occur in camera at the moment that the single exposure is taken, rather than through multiple exposures or in post-production. –Courtesy of The Kitchen

Framed, framed dimensions: 15.25 x 20.25 inches

Signature: Verso

Image rights: Courtesy of the Artist and The Kitchen.

About Karine Laval

Often likened to William Eggleston and Henri Cartier-Bresson for her use of color to express mood and her pursuit of spontaneity, respectively, Karine Laval combines environmental and architectural photography (in locales such as Cuba, Argentina, France and Norway) with portraiture. Her choice of subjects often gravitates towards water, as in her ongoing photographic series of people in and around swimming pools. "I find water to be appeasing, healing and liberating," Laval says. "I also see water as a vehicle for transformation and self-reflection." She uses unusual camera angles and painterly color effects to bridge the gap between the surreal and the familiar experiences of leisure and exotic travel; she achieves her ethereal visual effects by way of cross-processing techniques—developing her negatives in chemicals intended for different types of film. Laval’s editorial work has been published in Elle, The New Yorker, and the New York Times Magazine. Recently, Laval has worked in mixed media and video.

French, b. 1971, Meudon-la-Foret, France, based in Brooklyn, New York