| CLIC GALLERY ARTIST VICTOR DEMARCHELIER PROFILED IN WWD AND STYLE.COM ON THE EVE OF HIS SHOW OPENING Victor Demarchelier “Creating Images” on display until April 4, 2010 |
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It’s hard to argue with Victor Demarchelier’s decision to become a photographer. As the son of famed fashion photographer Patrick Demarchelier, the younger Demarchelier practically grew up on photo shoots for Harper’s Bazaar and Vogue and has easy access to his dad’s darkroom. What’s more, Demarchelier always has a willing subject at his disposal in model Caroline Trentini, his girlfriend of three years. “It’s all definitely convenient,” admits the 25-year-old, who, at 6-foot-3 with piercing blue eyes, looks more like he should be in front of the camera than behind it. Demarchelier’s first solo New York show opens today at Clic Gallery in SoHo. Titled “Creating Images,” the exhibit features 20 works taken by Demarchelier over the past several years. While he says there isn’t a theme among the pieces, most are black-and-white prints of subjects dear to the photographer. “It’s very personal,” explains Demarchelier of the shots, which range from a childhood teddy bear to a topless Trentini. “There are a lot of young photographers out there who are trying to do shocking things and digital things,” says Clic owner Christiane Celle. “But Victor’s work is classic. He knows where he is going as an artist.” To read the full article, click here. |
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Having spent his collegiate years studying finance and studio art (primarily printmaking) at Vassar, Demarchelier only began taking photos after he returned to his native city post-graduation. He’s since lensed for the likes of Paris Vogue and Interview. “I like to look at paintings mainly, like those of Francis Bacon. Or Mapplethorpe, Newton, and Penn,” says Demarchelie. , An affection for fashion’s old masters is readily apparent in Demarchelier’s work, which is predominantly in black-and-white and printed on silver gelatin or platinum prints for an aged quality. “I like when they’re rough,” Demarchelier says of his images, which he retouches only minimally. “I don’t always spot them; that way they’re more like a piece of art. The accidents can be beautiful, too.” To read the full article, click here. |
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