Is Mycoplasma An Acid Fast Bacteria

Portrait of a photographer Angers, Jean-François Rabillon

Interview Tuesday, December 15, 2009 at The Bohalle Maine et Loire

Warning: To better understand the personality of Jean-François Rabillon, "said Jef, I I have to warn the reader that I intentionally removed from the transcript any commentary illuminating the spirit in which was my partner. So you will not find ( laughs) or (wince ) for example for the simple reason that it should be added every two sentences ( laugh ).










How you define yourself?
I am a witness, an artist privileged observer.
For me, photography is my life, I bathe in it from morning to evening. I do not feel good if, after several days I have not taken a picture, it is a necessary element to my life.

This is so not enough to look with your eyes
is different because with a camera you focus on one element of the landscape, scenery that will draw you, touch you, often correlated with the light beyond. I love the detail and light. Then I wanted to share this vision with others and the only way I have is my camera ...

This is no different from the artist's approach
is the name that bothers me and then I'm not in the construction of the image.
Unlike the painter who hand me a blank canvas I need items that are already there. I go fishing in a way. I am less and less sensitive to the images constructed in the studio. I love meeting with people. Otherwise, you could call me nosy. I take some pictures. When traveling, I'm walking around in a dream and these are details that caught my attention, broken glass, garbage rather than monuments.







I will naturally find that the most extraordinary is ordinary. I have the same approach when I photograph an opera. So I worked for two years for Angers Nantes Opéra and I discover all is a whole new world for me and I am amazed as a kid. This may be due to under kid I do this kind of shots. Do not I get settled into a kind of comfort.

Is there is a voyeur when it is photographer?
I am very uncomfortable with that. I was always shy to the point that to enter a cafe costing me. I took some time to be able to photograph people on the street.

Small
already, you had this attraction to photography?
My father loved the film and he had an 8mm camera but he had a disease (retinitis pigmentosa) who has become blind very quickly. Is it that unconsciously, it directed me to this business, I do not know but I often took his camera around 7, 8. I have shown initiative and I grew up very early. There was the technical side that I liked. I got my first camera at 1965, an uncle, then an engineering student who had brought me the United States. It was a tiny device with rollers like 6 and 6x what intrigued me was the transformation of the small roll of paper would become a negative, then a picture, it seemed to me magical. At Christmas 1970, at age 12 then, my parents gave me a small compact, a 24x36, a Zeiss Ikon.
But it was expensive to develop his photos, I had installed a lab with my parents in a closet. I installed everything alone, electricity and painting, through the laying of the enlarger, etc.. I just played the sorcerer's apprentice because, as I knew nothing about DIY, I did not have the right connections, the result, there have been some minor incidents. But what happiness after to see the image.

What kind of pictures did you do then?
landscapes, family photos, I found an outlet of the window at my parents. We see the postman making his rounds.
I could not stand the college, I would say that I was experiencing and then I was going to hide in my closet, bathing in its light red.

Originally, the picture was therefore a haven but now you say it allows you to open your other
I did not take any of the people pictured, I did not mature that may have youth today.

You were so shy?
Yes, very much, it was a huge handicap. I give the school a little responsible for this state. But now this serves me shyness because people feel that I'm not going to attack them, I am not a thief images. Shyness is added to my respect to my interlocutors.
I did not like school, the authority that prevailed in the Catholic education of the time.
The camera allowed me to find a place in groups because you hide behind it and then you bring a drawing of the sudden people look at you differently. I would have preferred to play guitar. I'm still not very comfortable in groups.
I did not choose to be a photographer these are the encounters that I have built, it mingled with my curiosity.

You could not see then ?
No, I put myself in the place of people who are photographed. So I do not want to go to Africa or the Third World because I would not feel at my place with my camera slung over his shoulder. Or should there be a reason why not as a tourist.
I made portraits of Kosovar refugees in Angers, who lived in the barracks Desjardins, but it was different because there were intermediate time and I had been asked.
The difficulty of being a photographer is now in part because everyone is a photographer and mostly everyone does anything with his camera. I am ashamed sometimes arrive with my bag. When I stand before the people I'm photographing, I have to prove I'm not in the practice of any photograph, often without respect for each other. Because they do not know me and do not know either working or my way of working. I am open question at this time. There is the vital need taking pictures, the economic need for it is also my job and at the same time I see this profusion of images. I am a bit lost.
How do you trouble to transcribe these exchanges with a snapshot because the shot is very short?
The meeting itself takes 80% of the time, because first he must convince the person I want to portray, it is "photogenic", at least until I get my camera. So I come to some interesting discussions and finally I feed on these exchanges.
It is not easy either because I actually see that attitudes I agree as a photographer but I am not available at this time because I'm in verbal exchange , or they get stuck in front of goal.


What is your status?
It's like the house of artists, this concerns the authors. I charge by copyright. There's plenty of work I do not charged because they are small companies that have no money. It also uses some of my photos without asking permission or crediting me without me paying. People do not know our situation and do not realize that our work deserves salary.

Do you have time to be considered a photojournalist?
No, never. I'm not interested.
I sometimes reproductions of paintings. There are not many photographers who can live without food work.

influences?
The first photographer that really influenced me is Jeanloup Sieff. It was my master. Kid, I was impressed by the series "Death Valley", these high-contrast photos. There's one where you see mountains in the background, a bush in the foreground and in between, the cracked earth. As a kid you love the wide angles, contrasts. It gave me 17 years to the "picture" book co-directed with another photographer Chenz. I eat with Chenz technical side, and I took the poetic side of Sieff.

What is your background?
I am self taught, I like to find out for myself, doing my own experience. I put myself in the footsteps of those who made the first discoveries. I learned a lot in books or by visiting exhibitions. I spent a science graduate, then I struggled a bit, I went to the North Cape cycling, achieving a slide show on this trip. I always took pictures but I do not show them. I was the seller ray picture in a supermarket for a year. Then meet Philippe Leduc Lucie Lom gave me confidence because I am someone who doubt enormously. I owe everything to the Lucie Lom, they trusted me, especially Philip, who encouraged me, me "boosted".


I was 28 years and it made me work for the Polish poster project, I made a slideshow to present the project to elected Angevin.
I enjoyed working on this project because I was interested in the slideshow at the time, chain outlets of view, new ways. In fact, I was attracted by the cinema and it is the lack of which led me to photography. At 18, it was impossible to have a 16 mm camera, film stock was overpriced.

You wanted to be a filmmaker?
Yes, I would have liked. With a friend, you wanted to buy a 16 mm and go. The slide show has allowed me to link the image and sound. I love music too. Upon return from the trip up north, I bought a magneto Revox speakers, a crossfade, projectors. It was presented at the Festival de Royan, before Gerard Aboville. But it was not like "knowledge of the world was a form of poetic road movie. I liked the overlapping images that showed a third image.

I gradually approached the human. There was the Lucie Lom with this work around the companions of Emmaus. It was an intense moment with as highlight the common meal with companions and Abbe Pierre. It took me time, about 5 or 6 months because most were reluctant or even hostile, I keep on seeing me, with my two children who accompanied me, they changed their attitude from some to ask me.
I wanted a close, so I used the wide angle but for that you need a quality, speed leaves to be less demanding technical side.

How do you go?

I do not know if this is correct but I want to say that I go to the photo. I'll look for a place and then I wait, I'm not constantly moving. In concert, I'll put myself in a corner and stay there, I'm on the alert constantly, I do not want to stage, but let me forget it will happen can be nothing else ...

This reminds me of Doisneau, Ronis, Izis
I was not immediately responsive to their photographs, but with age I feel more close to them.
I'm not trying to take photos at all costs. In particular, in the street show where I do not parasitize the show, I try to blend in with the public. In a theater is a bit different. I like taking my time, being now very far in advance, like overheating, immerse myself in the room climate, I want to keep a certain naivety.

You use mainly black and white?
Not especially. I started with the black and white because I developed myself for reasons of economy, then with the slideshow I only use color. Then, for entertainment, I prefer black and white because you could push sensitivities. Before, I loved the landscape work was needed on the color itself mainly due to the light, as the work done around the Loire, but it depends on the subject. I return the Pyrenees where the landscape was so barren, with twisted trees, a little fog as black and white might vie to color. It is a story of light, some lights fascinate me, they make the unreal landscape, so much so that some viewers think that I use filters, however, I never used them.

Digital has changed the way you photograph?
Not at all, it takes away the little stress that I had waited a long time when the return of the lab. I wanted to see if there was something on film. This stress was due to my first experiences when I started my first development in 1970. Previously I introduced my film to develop in Guiraud, Angers, then I went into the development, at 12, 13 years with just a book to guide me because I knew nothing about the photo. I m'autofinançais selling photographs into postcards that my father agreed to hang stationary in its library. I remember in my closet with my red light, my film in the box, then comes the moment when I leave the movie, there was all black, gold I took pictures of my little sister who had born. I remember that everybody jumped on me because I missed everything. I do a second test, like, all black, then I tell my woes in Guiraud, who laughs because development must be in total darkness, that I did not know at the time.


After I put myself in the dark to my developments. We can reconcile with my father's blindness, of course, because there, you do not work the touch, and then we realize the importance of this meaning is forgotten, especially when you do the picture . Moreover, one can notice that if photography is a visual art, there was a step in the manufacture of the image where the senses, sight, was completely absent. Do not forget the camera obscura, the dark room. It would be a godsend for my analyst if I would lie on his couch when we know my family history.

What is a successful photograph?
Doisneau said that if he had a hundred photos of good in his life it was only in 1/125e a second life. After shooting, I'm never satisfied. I often feel I missed the photo that I enjoyed doing. Fortunately, with a little hindsight, we rediscover the images and say that ultimately it was not so bad. While experience counts, sincerely, I feel
know nothing. At each show, I'm still anxious.
I remember a photo taken in the street, a man, homeless, arrested me because he saw me with my camera he thought I wanted to take a picture of him against his will. Then undertakes a discussion where he told me his life. Showman, he worked on the Ferris wheel and then after a bad fall, he found himself with nothing because he was uninsured. Then the street. While at first he cried without ceasing "I do not want Photo " at the end of our discussion, he asked me to do a portrait, he wanted to ask what I did not want. I took two or three shots and it once came home I saw the bill against which it was supported.

The site of Jean-François Rabillon:
http://www.rabillon.com/index.htm

How Long Will Scorpio Disappear

Portrait of Claire Alary, painter

C lar Alary was born in Paris in 1958. After multiple moves due to the occupation of the father, postmaster, she moved to Los Angeles to attend courses at the School of Fine Arts from which she graduated in 1984. Also holds a Master of Fine Arts and a Master of Arts University of Rennes II, she teaches courses including the Ecole des Beaux Arts d'Angers. She currently lives and works in Savennières small village nestled on the banks of the Loire, as a painter and artist. She regularly exhibits his work in France, Germany and the Netherlands. One of his recent exhibitions was held at the Grand Theater of Los Angeles under the Hang hearts. Child
she wavered between being Picasso ballerina, then the need to paint was made imperative, first as a psychological crutch and obvious, naturally "without choice", perhaps because she did not see she could do more.
His painting speaks of his travels, real or imaginary. She works in mediums as diverse as collage, stained glass, painting, printmaking, digital imaging, and most recently the bogolan earth.

Stained glass from night till morning

Anything can make sense in his work insofar as it serves his need to create forms, not new but rather recognized and recognizable, a woman A tree, organs, a toad ... a world in perpetual renewal, archaic forms that spring from the material etched, grooved, rocked.


I give you here the interview in his studio at the beginning of December 2009.



Why not sculpt and painter eur or photographer or filmmaker? :
When I entered the Fine Arts, I intended a career as an illustrator of children's books. Then I realized that it was not my path, because it appeared to me gear. I wanted to ask me about what painting, the act of painting.

bogolan a mask

What interests me is what I call "the kitchen", "doing", working with the material components. We can control everything with paint without need of anyone with a questioning almost permanent even if you may be tempted to rest on certain achievements. I am in constant search and questioning of painting as such. I also like the lone worker who takes his job from A to Z.

What motivates you? :
Finding oneself. Henry Miller said that some were quickly while others needed longer paths, winding, tortuous. I do not feel like I can go to the heart immediately. Maybe I would stop painting when I'd found, which is not going to happen to my meaning. (Laughter )

Sabbath at Lascaux

Over time, I realized that reality has always been, I was on my own.
My experience, my life, feeding my painting. It is no exaggeration or to make a figure of speech I say this simply because I can not think of my paintings without mentioning my life. Things are mixed to the point that lifestyle choices have determined the choice of artist and painter conversely choices
more or less influenced my daily life. I will not say as did the artists before me that the art that's life, but I though this is the truest possible
... I'm not looking to bring new ideas or new and My paintings are not particularly innovative. It is in my image, that is different from what you would do simply because my brain prints things differently, and I have a different story.

Travel (etching)

I always compare my brain a riverbed because my experience is superimposed as sediments and that my hand looks like inside the fisherman patiently hoping a fish out of water. The fisherman often missing his decision but he was not discouraged
provided. The gesture is as important as taking ...

What is the starting point of a table if there is one? : This can be
obsessions, some words that are emphatically.
other times there is nothing, no idea, no picture, no envy. It's almost preferable. I can compare it to the seed planted in humus that will grow, you simply sprinkle the lead. It is from this embryo that I work.
paint is ordered chaos. I'm not the medium who transcribed onto a screen an image that already existed in my head or elsewhere. I had this feeling was younger, my hand was guided, but it is not my position. It is inside of chaos and order is needed because we are overwhelmed by what surrounds us. Younger, it was akin to a fight, I did not know what compelled me to fight and against whom I fought. When I say bring order to eliminate it and choose what I want to keep and put in my paintings.


Sometimes I use photographs as my primer work, as the series of landscapes. For one of them, I am inspired by two black and white photographs taken in Mali in the Dogon country. I was on top of a cliff where I ruled the landscape and where I was sucked in by the beauty and grandeur of it. On the picture you have the impression of being on top as if you were in a balloon but also almost in, since you distinguished houses, details. This game with the prospect interested me. Of course I changed what we see on the pictures, the preparatory drawings were closer to them than what we see on the canvas. Both perspectives are shown as point starting at the end but there remains much of the original landscape. There are several points of view as if it was traveling and in the landscape and canvas.


What I wanted was also working with matter by latex and ashes. The ash is very fine volatile and can easily be mixed with warm tones but with the cold. At the center of the canvas there is what I call the stone, which has its own history since this form refers to a stone that was given to me by an artist encountered by chance in Britain and who lunge revealed a structure ferrous type within it. It's a bit like magic, as if he had revealed to me anything but an afterthought. I see it as a transmission. In the painting she has a little more the appearance of a megalith, a totem but it looks like a female presence. We could see a woman walking down the hill but that would be married to the image of fire, volcano, lava that initially reminded me of the stone when I got it. This is not the result of reflection, I do not think this particular form when I started to paint this canvas then the idea of the stone arrived and took over. Originally, I thought only the lava at this idea of an island, a barrier that prevents us from going on the other side.

Do you work faster?
Here, the work was fast because I painted it in about three hours. Anyway, I work pretty fast although I reworked some parts. I am not able to analyze the genesis of this form that I worked for it is not a hole but a full intriguing, with its mystery.
In almost all my paintings now I realize that there is a form that is required then it should not be there. This can be zinc, where there feet. I stop
when I feel that the painting is finished but I'm wrong sometimes. Only a few years later we know if we were right. I can not see some paintings. They satisfy me more while others will retain some value in my eyes. Although it is difficult to be fully satisfied by what I can produce. But some are so many gaps that over time the imperfections are obvious to me.

Totem

It happened to me not to recognize a painting that was hanging in someone's home. It's rare that I am completely detached from a work. So when I found myself from a collector who showed me the damage to a table I felt a real physical pain when I was almost forgot this painting. Generally I found myself embarrassed to face one of my paintings when I dine with friends. I want to watch it without stopping, change everything.

How would you characterize your painting? :
For me, my painting is figurative. But when I asked this question a decade ago I answered abstract and yet it was just the opposite. Now I say figurative. It's the numbers.
I was like much, the masters or at least I was influenced by painters, including Kandinsky, Alechinsky Dubuffet, but the influence is not necessarily direct. Furthermore, I also lectures and as I visit the work of painters who initially did not attract me as particularly Soulages example. I walk over his work the more I want and it does not leave me indifferent. There are, conversely, painters like Matisse that I love but I'm not sure he has influenced my production. Some paintings impressed me as "The Rape of the Sabines" but I can not analyze what it provokes in me.
There are those who have been with me a long time as "The Island of the Dead" by Arnold Böcklin. This table fascinates me and intrigues me. He reigns there something strange, timeless, magical, time, space no longer exist because the island is off and it seems to be almost. The space is both closed and open, it fascinates me. Why did you want to go on this island because there's nothing as dead as it is and yet it attracts us. The table retains its mystery. This landscape came into my mind while painting lately.
long time I was afraid that the world around me do not come in my way of disrupting paint, I protected myself but this is the case now. I can look at things, deal with what happens in the world although it is very violent.

Do you find this world in your paintings? :
In some paintings, the outside came the news but not interfere. I do not know how a painting activist and I'm not interested. I'm not rooted in the social nor political. I'm more interested in individuals than social movements. Interiority, the mystique attract me more than the temporal side. The debate on the place of painting today, its relevance, its death foretold does not excites me.

I open up to other mediums such as sculpture, land art, but I'm always drawn to a reflection on man. I can translate my problem through another tool, but I do not want to talk about nature as such if we take the example of land art. So I have a project called "Trees galvanized" where trees find themselves decked iron corsets. There is a sense they have a double skin protecting and imprisoning them both, not aesthetic. I do not recognize myself in the painting of Morellet, or Vasarelly which I think is far from the nearest man and mathematics.

I do not feel close to either of some women artists who adopt a feminist stance, while I agree with the claims, but the question of the role of women in our society or in art foreign to me. This is not the endangered motivates me. I find the work of Louise Bourgeois interesting because there is a feminist issue but say not only, there is universal in his art. Femininity or women are transcended as did Niki de Saint Phalle at the beginning. What bothers me is the sheer sprawl even if I totally understand that we can use this medium to express themselves but it does not fit me as an artist.


Is this the place where you paint matter?
Having a new workshop has changed my way of painting because I can use much larger sizes than before, higher, wider, too. I am free from certain constraints. I was able to use a chassis that was out of service because of its dimensions.
This is consistent with early work on the landscape.






Your paintings do they always have a title?
Yes forever. The title appears at the end, sometimes long after. It serves many purposes, in order to appoint the
remember, identify, and refine your idea. Rarely during the performance except for the painting that I named "In Under the Volcano" in reference to the novel by British writer Malcolm Lowry. I thought about it while I worked in the book there is a feeling that something will happen, something will explode, there is a noticeable effervescence that I wanted to find on the web, something crystallized.
I paint on old canvases that I kept and that pleases me more. Down there, there is a woman monster as can be found in some aboriginal paintings, character radiographed with members who are moving in several directions. Even before there was a brain.



remain there records? :
Yes, those vibrations of color, these peaks emerging from previous paintings. It is this underlying content that intrigues and attracts e eyes. Feet from another painting entitled "The blue feet" but they were down and the fabric is turning that vision of feet above the canvas was imposed. In fact, there can be said that a canvas has brought another.

For the latest paintings I wanted to say that they came to me initially because it's not what I wanted to do. There must have organic shapes from which emerged the vital forms. It shows a nucleus with a burst that I missed during the production. Then when I reworked the vision of The Island of the Dead Böcklin stepped in and crushed it explains this perspective.

Ex recent positions:
Grand Theatre Angers
Museum Norden (Germany)
Residence "source" Fresh Paint Gallery
Paris
Biennale de Douala (Cameroon)
Gallery WBZ, Norden (Germany)
Control for Sea France ferry Berlioz