Gallery CAMERA WORK is pleased to present the exhibition “Nude & Nature” by Jean[Baptiste Huynh. After the great success of his previous exhibitions at CAMERA WORK and CWC GALLERY, the photographer’s impressive body of work– that includes artworks showing nude shots, portraits and still lives– will be complemented with previously unreleased photographies under the title “Nude & Nature”.

In Jean Baptiste Huynh’s new series entitled “Etude de Mains”, the photographer concentrates on the aesthetics and look of delicate lining of human hands. His photographs come in a square[shaped format, which Huynh attaches great importance to. By making use of sparing but directed lighting the artist turns the nude photographs into a study about the interaction and language of hands. Besides the hand itself as a tool for expression and communication, there are various other objects like shining knives and expressive portrait pictures of people coming from different ethnic backgrounds. 

The term “Nude” combines photographs that seem like gracefully drawn body sketches due to a clear composition, which guides the viewer’s conscious to the pure form and silhouette of the female body. The dark background creates clear outlines that allow the viewer to focus purely on the skin and the eyes of the depicted person. The beholder immediately becomes apparent of the intimacy, which evolves between the photographer and the person who has been portrayed.

The exhibition “Nature”, however, includes photographs ranging rom fruits to eucalyptus leaves from Vietnam by making use of the same pictorial language. The image compositions are minimalistic and have a clear structure beyond the characteristics of a typical still life. Due to his masterly play with light and shadows either on black or white background, Jean Baptiste Huynh manages to transform, estrange and bring these objects back to life. The shot of a Galia melon sharps the viewer’s senses for an unexpected analogy of the fruit’s surface with the moon. Thus, the object is repositioned and conceptualized, so that the observer’s view will not remain only on the physical appearance, but complies with the transformation of the object.

The pictorial language of Jean Baptiste Huynh is not just predestined for this purpose, it was even perfected to that effect. Moreover, it is the evidence of diligence and precise confrontation with the subject. The black and white symbolism of color dealing with the sublime elegance and mysteriousness, as well as the subtlety and indefinability, impressively unfolds in his photographs– an appealing interaction which is supported by a compositional clarity and elucidates his distinguishing purism.

Jean Baptiste Huynh was born in France in 1966, of a French mother and a Vietnamese father. As an autodidact, he taught himself – photographic, lighting and printing techniques, which he mastered to the point of developing a personal style. His pure and timeless photography is recognizable in widely varied themes and subjects: portraits, nudes, minerals and plants, as well as spiritual symbols and emblematic masterpieces. Jean Baptiste Huynh’s thematic preoccupations include the human gaze, oneself image, the play of light, the sense of timelessness, and the attempt to capture infinity. His photographic work takes shape in his exhibitions, their scenography and his books, considered to be an integral part of its projects and as a completed expression of his vision. He has authored twelve personal volumes. Villa Médicis hors les murs laureate, Jean Baptiste Huynh has exhibited in major galleries and museums worldwide. In 2002, the Maison Européenne de la Photographie presented the exhibition “Yeux” along with a book gathering portraits by Jean Baptiste Huynh of major international photographers and painters. In 2006, the National School of Fine Arts of Paris devoted a retrospective to Jean Baptiste Huynh, “Le Regard à l’œuvre”, which brought together his studies of the human face in a variety of world cultures. In 2012, the Louvre invited Jean Baptiste Huynh to a solo exhibition, “Rémanence”, gathering his photographs inspired by objects in the museum’s collection.

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