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歐黑理安・維列特 Aurélien Villette 法國 b.1982
維列特是法國的攝影藝術家，生於1982年，於巴黎近郊的勒舍奈 (Le Chesnay)。對他來說，攝影是一種旅行。從他投身攝影生涯開始，他已旅行過三十餘個國家，他總是對於不同的社會國家歷史抱持著無盡的好奇心，他對於世界的想像是由廢墟塑造出來的。他熱衷於追逐那些“建築傀儡”，因為它們代表了理解人性的關鍵。
“Certain places are sometimes forgotten after a glorious activity, therefore they suffer the test of time. When they are not reconverted, those places take away with their destruction the souvenirs of their ancient splendor, which is why I find it important to immortalize them.” ~ Aurélien Villette
Aurélien Villette is a French photographer born in 1982 in Le Chesnay, near Paris. To him, photography is about travelling. Since the beginning of his career, he visited more than 30 countries, with an endless curiosity to encounter new societies and histories. His vision of the world is shaped by the motif of ruins. He is passionate by those “architectural palimpsests”, as he likes to call them, in that they represent a key to understand Humanity.
His mesmerizing work seems to challenge our notion of “heritage”. Why were those places abandoned? Should they be conserved? Should we consider them as the failure of men’s ambitions, or rather as the transitory state of our History? But more importantly… How looking at our past can tell us something about our present? The truth is, what we choose to abandon is a part of who we are, it stands as a determinant factor of our collective identity. Half way between photography and anthropology, Aurélien Villette stands as an accomplished artist, and in 2012 he obtained the jury’s congratulations at the SFR Young Talents Contest. In 2014, his Dogma series has won 1st Place of International Photography Awards, Historic Architecture.
Dogma attempts to display the truths once built and later destroyed by men: beliefs, religions, political or economic diktats. Aurélien uncovers all the places where men, willing to escape death and annihilation, tried to defeat the ephemerality of their condition by modeling their truth into grandiose memorials. His lens explores those crumbling churches, those congress rooms with no crowds and no leaders. It appears that time has stop to freeze the True, the Certain, the Real of yesterday. But we all know that new certitudes and beliefs have swept them away, and that one day, those beliefs will be swept away as well.
These interiors of the past are now invaded by natural elements. The frontier between nature and civilization, inside and outside, past and present, is fading away. Melancholic photographs, but not merely. The beauty of those artworks is deeply moving by its vulnerability. Majestic and fragile at the same time, they invite us to question our past in order to reveal our present.