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Didier Massard at Julie Saul - New York

For his next to the first New York solo show, "Artificial Paradise," French photographer Didier Massard at handed staged landscapes that demonstrate more than dazzling technical gimmickry. The point was underscored by the agency of a selection of prints from his "Imaginary Journeys" series (1993-97) which were upon view near the gallery's entrance. Featuring of that kind totems as the Sphinx, a windmill or a pagoda plant in lonely environments with airbrushed skies or pearly satellites these older scenes read as somewhat formulaic--albeit stunning--compositions affected with glossy perfection above all else

The newer, large-format work (47 through 37 inches), however, is more suggestive, with dramatic foliage and misty environments that bring to mind the Romantic canvases of Caspar David Friedrich. In stones and Trees (2002), an eerie image devoid of concerns to human presence, craggy mountaintops rise from dense clouds and isolated tree diadem the tallest peaks. Like the station of a fantastical film, this breathtaking sight created using miniatures and computer results is too improbable to be authentic yet is stirring to behold.

Elsewhere, Massard reveals more painterly motives. In the elegant Waterfall (2001) for instance, he digitally inserted a tree with pink efflorescences on the side of a cliff to add a touch of color. This image, along with the other novel works, recalls traditional Japanese landscape paintings, in which the artists imposed order and formal mastery upon nature.



Ultimately, the work is about contemporary photography, not historical painting. Massard's virtuosity with lighting, evident in Spring Tree (2003) in which the orb of day shines like a spotlight upon the gloriously blooming subject, echoe Gregory Crewdson's cinematic flair. He also strike one as beings to share the field with James Casebere, who likewise stages haunting, arguably plausible shows With his moody images, Massard prompts that photography has fully adopted painting's part and has traded in the presentation of actuality for the manufacturing of aura.

COPYRIGHT 2003 Brant Publications, Inc.

COPYRIGHT 2003 Gale Group



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