Annie T-Lormonth is currently exhibiting a new photographic series in black and white, “L’être de ma machine” at the Montreurs d’images in Agen until March 4th.
Annie T-Lormonth walks through the mirror. After presiding over eight editions of “Rendez-vous Photographiques d’Agen”, a tour of exhibitions scattered throughout the city including the Martrou Chapel, the artistic photographer signs an exhibition at Montreurs d’images poetically titled “Being my machine”. Black and white photographs captured by his Leica, with the sole object becoming the ‘main object’, his Brunsviga typewriter.
Three series punctuated by seven images, each containing snippets of stories taken from his long-blackened diary surrounding his photographic experiences. A conceptual series whose secrets we will not reveal. Annie T-Lormonth invites the visitor to enter a story of her own: “You’ll find the beauty of an office supply catalog (just to look at it), the intoxication of proliferation, the repetitive insistence that makes you suspect a monomaniac. tendencies and characters whose resemblance to existing people is by no means accidental.
Today, his work on his L’être de ma machine series approaches the arte povera aesthetic and draws inspiration from the literary group “Oulipo” founded by Raymond Queneau, among others.
Love of letters and Dieuzaide imprint
In order to understand what was the basis of her authorial work, we actually have to go back to her biography. Two years at the Faculty of Modern Literature in Toulouse, where she fell in love with literature. An appetite for words that still intoxicates him. In this course, she flirted with audiovisual UV, which brought her to the shores of photography. She took on odd jobs to finance a photography school in the pink city: L’ETPA, which she entered as a general practitioner in 1981. When she left, she was accepted into a photo printing workshop on the rue Pargaminières in Toulouse. by Michael Paradinas.
“Toulouse at that time was in full swing around the medium of photography. The great photographer Jean Dieuzaide had just opened the first gallery in France dedicated to photography, Le Château d’eau.” His presence becomes a catalyst that unites the movement of photographers from the region. Annie gravitates in this circle, remembering the hieratic figure of Dieuzaide walking through the circular gallery with a wand, releasing some of the formulas felt by the bubbling young generation: “Photography is writing with light!” Dieuzaide called them to order and the young photographers answered: but also with shadows!’
An exciting period during which she was able to meet the big names of photography as a printer. Toulouse will continue to write his letters about the nobility of the image “September photography” and later “Manifesto”. But the film tended to disappear in the early 1990s, Michel Paradinas went into exile elsewhere. Annie T-Lormonth settles in the Passage d’Agen, where she sets up a laboratory in her house and still continues to fulfill commissions from photographers, giving free rein to very imaginative personal series that know the approach of plastic artists.
Annie T-Lormonth’s specificity: black and white and film considered more alive than the mechanical coldness of digital prints. But now she’s slowed down: “You have to spend 10 hours a day in the darkroom, not stopping when the image resists, when the bath is in danger of fading, then you have to smooth and dry the images,” says Annie. who defines herself as a woman in the shadows. The more or less accentuated weight of the paper contributes to the aesthetic exploration. Tones too, chemical treatment gives the image a dominant color. What animates him in his view and his photographic culture, the return of “neo-pictorialism”, the practice on the border between photography and painting, the “new objectivity” that was the emancipation of photography and “the surrealists who knew how to reverse the effect In photography I like bold, diagonal shots, low angles, accidents.’