The Adventurers is the first print in the Piémanson series realized by Vasantha Yogananthan from 2009 to 2013.
Vasantha Yogananthan made a photographic report in the Camargue region of France, on Piémanson beach, Europe’s last natural shore, where several thousand people come to fish and camp every summer.
The photographer lived with this out-of-the-way population. His work reveals aspects of their way of living in a poetic, disenchanted environment. The Adventurers is the first print in the Piémanson series realized by Vasantha Yogananthan from 2009 to 2013.
It was exhibited at the Albert Kahn Museum (Boulogne-Billancourt) during the exhibition “Un arrière-goût de paradis.”
|Size||80 x 100 cm|
|Justification||Signed and numbered|
|Technique||Pigment inkjet printing on FineArt 260 g paper|
Vasantha Yogananthan was born in 1985 and works and lives in Paris. He studied history of journalism and artistic direction on cultural projects. From 2010 to 2011 he leads a photographic investigation on the representations of war by the tamoule diaspora in Ile-de-France, and concentrates on the representation process of conflict and more particularly on “war theaters”. By photographing these stages for his series “Iles intérieures”, he tries to show how community is lulled by the war iconography and reproduces and transforms myths and images from its own history. When he discovers the last wild beach of France, Piémanson and its inhabitants in 2009, Vasantha Yogananthan choses – while keeping a documentary process – to change his esthetic approach. He lets his subjectivity free and makes pronounced choices in terms of composition and color, that reaches towards a certain poetry of daily life. Playing with portraits and landscape photographs, his work is voluntarily different from traditional reportage. In 2013, he starts a project addressing young people entering the business world during the economic crisis. In this series, he continues to explore the portrait and landscape genres, in relation with pictorial tradition. In march 2003, he starts a new project in India and Sri Lanka, by retracing the itinerary that is related in the ancestral indian poem “Ra-ma-vana”, still nascent in these two countries. This photographic voyage is, for Vasantha Yogananthan, an occasion to interrogate the link between myth and contemporary problematics.
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