In all cases, the clothes, the make-up, the possible objects, the decor have all been carefully thought out and created by
the artist to give an overall coherence to the scene.
Mathilde Oscar owes this complete approach to her background, which has allowed her to deepen her knowledge of art history and to practice painting techniques before tackling photography. She is going to find a new breath of fresh air that will allow her to bring a new perspective on the contributions of art history.
Since then, she has opened her photo studio in Cannes, the Tiny Studio, where she welcomes private individuals and professionals for portraits in her own way, of very pictorial inspiration.
"Because of my past as a painter and my love for the history of Art, it is almost visceral for me to work on photography.
like a painting, and my inspiration for known works is a process of language, to speak to the collective memory of the public. Moreover it allows me to pay tribute to my favorite painters".
The detail is important: in any case, her works are also recreations that respect the basic models and are in no way parodies.
Her first source of inspiration revolves around the female figure, so present in classical painting. But very quickly, the contemporary aspect of the work is obvious: the photo technique itself is a sign of a current work, but beyond that, details show that the artist is inspired by known worlds to go towards more confusing things: the young girl in front of an old sewing machine, in an interior that refers to 17th-century Flemish painting, has sewn up her arm and the work is called "lace-maker, false beauty", another is called "Cyber Vermeer" and confronts the pensive attitude of a young woman from Vermeer's time who was reading a letter in front of her window with the pensive attitude of a young woman today, in front of her screens. In the end, the tools change but the inner universes remain.
All these works are of course well thought out: "My creative process starts long before the 'shootings'. Photography only comes last. I only work in series, and before starting a series, I want to plan the totality beforehand, which will be held in several parts to illustrate the theme I would have chosen.
Nicolas Sarazin
