The gallery Là de Simorre offers you an exhibition by Olivier Pasquiers entitled 'Paysages hors du temps' from November 28, 2025 to January 17, 2026.
The opening of the exhibition will take place on 28 November at 6 p.m.
La galerie Là is open from Tuesday to Sunday noon from 10 am to 7 pm and by appointment.
The exhibition of images by Olivier Pasquiers is an extension of a research started 2 years ago using an atypical device called the digital obscura camera. This device, out of time, is a link between the painters' tool used from the mid-16th century and the digital camera. In this shooting process, no silver negative, but a manually frosted screen with sandpaper, on which the image is formed, a frosted one that will be photographed. The digital camera only intervenes here to fix the image once the choice of framing is made.
The return of the hand: This approach is a new way of photographing reality to find the gesture of the hand by intervening directly on the screen, still virtual image support. With each shot, a single frosted lens, which is prepared, scratched, on site depending on the choice of subject.
The elusive of landscapes: This exhibition aims to ask you how to apprehend the elusive part contained in landscapes? How to apprehend the elusive part contained in landscapes? This part of emotion specific to each spectator and which remains in our memory more or less precisely? Landscapes are also made of light, wind, smell, sounds... Of a certain melancholy also sometimes if one thinks of the places of childhood, of a decisive encounter, of a break.
The obscura camera as designed by the artist is made to account for these inaccuracies in the representation of the world, the fragility of our memories in the face of the complexity of places to go beyond the real landscape, to separate the real from an objective snapshot, the opposite of what I would get if I used a classque device. A way to create timeless landscapes both photographic (objectives) and as drawn (subjective). Images that, once exposed, will be more likely to provoke a questioning as much about the representation (the print) as on the photographed place.
