He has collaborated with designers such as Christian Lacroix, Comme des Gar ons, Sybilla, Jil Sander, Martine Sitbon and John Galliano. Javier Vallhonrat burst into the world of fashion photography in the early 1980s and rapidly codified a sensual discourse of his own, rich in cultural references. You get deeply into this knowledge of the language of the medium, which you then explore and explore. A photograph printed in a book or a magazine is no longer a photograph either. He began purely out of necessity but soon made the transition from painter to photographer, taking with him the influence of Velasquez and Goya. Karin: How have you done that? Since 1984 his work has appeared in Italian and British Vogue as well as a variety of other publications.
Are the French collecting work from all over Europe? When asked what it is. Karin: So photography has pulled itself out of the old separatist ghetto? Karin: Is the photography scene in Europe lively at present? Javier Vallhonrat: Acaso Text by Javier Vallhonrat, Santiago Olmo. En 1995 se le concedió el Premio Nacional de Fotografía. Acaso documents a four-year project exploring this subject. Compagina su obra personal con una fuerte y sólida trayectoria comercial, Ha trabajado como fotógrafo para la revista Vogue ediciones inglesa, alemana, italiana y japonesa , firmas como Yves Saint Laurent, Lancôme o Shiseido y para diseñadores de la fama de Christian Lacroix, Sybilla o John Galliano. Then I had to go into the military, after which I had an offer to work as an assistant to a commercial photographer doing documentaries about artists, and I started to get interested in photography. Today, while continuing his contribution of photos for French Vogue, Italian Vogue, Japanese Vogue, Mixte, Big, among others, Javier also teaches creative photography in various universities in Spain.
So what I was symbolising is how photography deals with the reality in front of the photographer, and how the photograph deals with its own nature as an object. Passionate, biological, intellectual, and symbolic. It was an old faculty with a very strong division between conceptual art and the old ways, and there was a big fight between the teachers who were trying to make the students think as well as paint and produce objects, and the others who had a very different set of ideas. I was doing this by lighting a match and when the flame was dying the picture was dying. Personally, I love most of his photos. In 1992 he broadened his interest in photography and began creating advertising films, while on the side teaching photography at the Cuenca School of Fine Arts. He clearly has a great eye for composition, and balance of colours, especially in what I would class as pastel colours and warm berry colours.
It does to me a lot of illusion that you read out of Spain!! Vallhonrat has also worked in fashion photography and is well-known for his work with Italian and British Vogue. His works are in various public art collections and private, has also published several books: Animal Plant and Buades Editor April, Madrid, 1986 Possessed Space, Gina Kehayoff, Munich, 1992 Autogramas, Gina Kehayoff, Munich, 1993 Banks, Editorial Mestizo, Murcia, 1996, Madrid, 1997 Library Collection photographer from Madrid, Nr. I'm a student at the University of Cambridge with a wide range of interests, including in the Mexican war of independence and fauvism, but especially in Fashion and Art, and most of all in Film. Javier: France is very active in collecting it, more than any other nation in Europe. When I did The Possessed Space I was very interested in questioning the nature of the photograph, both as icon and as object.
He has collaborated with designers such as Christian Lacroix, Comme des Gar ons, Sybilla, Jil Sander, Mart Javier Vallhonrat burst into the world of fashion photography in the early 1980s and rapidly codified a sensual discourse of his own, rich in cultural references. Javier Vallhonrat in a Spanish Photographer, born in Madrid in 1953. It was called that because we were working on the edge, the frontier of photography. Acaso documents a four-year project exploring this subject. Hi Zoe, your blog is really, really great.
Some galleries understood photography as an open field with a foggy frontier and helped to break down the ghetto walls. Karin: I understand you studied fine art originally, that you were a painter? Text by Javier Vallhonrat, Santiago Olmo. I did not know your blog!! He is a master of chiaroscuro, and has forged a personal and modern, instantly recognizable style in an area where everything has been seen and done. Even if they are negative. Javier: All the photographs are about elements in a precarious state. I sometimes think that my English is not good enough to translate my posts but some comments like yours make me feel happy and keep with it! I live in Zagreb, the capital, and almost all the pics were taken here.
The human act of inhabiting fascinates the Spanish photographer Javier Vallhonrat--his photographs plunge deeply into the human need to convert space into a home and to make sense of an unyielding terrain. This book provides the opportunity to take an emotional journey through the visual universe of Javier Vallhonrat. We welcome new publishers Arquine, Atelier Éditions, August Editions, The Design Museum, London, Eakins Press, Editions Patrick Frey, Fulgur Press, Kasmin, Lisson Gallery, Marciano Art Foundation, Marsilio Editori, Onomatopee and Ridinghouse to our list in 2019! Javier: When I finished The Possessed Space, I started work on Autograms, where I photographed myself during different actions using the element of light, time and space. I have come to him from your comment in mine and I like it!! I have a new series, Precarious Objects, which again deals with the photograph as an object and its interaction with what it represents. Javier: People are starting to look at it without putting up the kind of barriers dealers and collectors used to.
Karin: Have you made a complete break with painting now? He is perhaps the most painterly of contemporary fashion photographers and his impact on the industry over the past five years has been remarkable. Aww Zoe your comment is so sweet! Anyway, I hope you enjoy. If you want we can follow. Biografía Tras finalizar estudios de Bellas Artes en Madrid en 1984, empezó a ser reconocido internacionalmente como fotógrafo de moda y por sus publicaciones con Conde Nast Publications Vogue. Javier: It happened step by step over a long period, unconsciously. And not only European photographers, but everyone. Here are few exposures from the photographers portfolio.
Action directing the photograph, not the photograph deciding which part of the action to record, because the whole action was inside the picture. I began to invest more time experimenting with photography, then in 1981 produced my first series and I started working commercially. I want to thank you sooo much for all the nice things you wrote in a comment on my blog! But then some specialist photography magazines in the 70s and 80s tried to reinforce the idea of photography as being separate. Javier: I went to the Fine Arts Faculty in Madrid, and it was extremely practical, too practical. It was an old faculty with a very strong division between conceptual art and the old ways, and there was a big fight between the teachers who were trying to make the students think as well as paint and produce objects, and the others who had a very different set of ideas.
Vallhonrat has also worked in fashion photography and is well-known for his work with Italian and British Vogue. This is my field, and a photograph is ultimately yet another object. He speaks of infinity, of understanding limits. I sit the mistakes that will exist in my comment but my level in english is not the one that I would like: and yes that I have understood your comment: Good weekend!! The basic similarity is they are all fields in which you express your current preoccupations, theoretical and visual. This long tradition is not so much to do with their discovery of photography — America has had a much longer history of supporting it as an art medium — but with the political structure of different museums, foundations and institutions, the structure of French culture. Funny, because I live and work here in Spain. This native Madrileño shares the passion and ironic stance of his compatriots, such as Pedro Almodovar, and fuses this with an awareness of the immense heritage of Spanish art: of Picasso, Gaudi, Buñuel and Balenciaga, of Velasquez and El Greco.