Résumés
Abstract
After linking the genesis of the artist Jean-Philippe Lemay's work to his own personal experience with early mechanisms for capturing light, André Clément analyzes the paradoxical nature of Lemay's photographs, moving back and forth between the modernity of their representation and the outmoded aspect of their aesthetic. He dwells on the mode of fabrication of these images, which cannot be dissociated from the technique used to make them and the meaning that they convey.