Monsieur Nowhere Adventure
Find here a man : “Monsieur Nowhere” a graduate portfolio traveller, diving into a black and white universe, contemplating peacefull timelessness.
Monsieur Nowhere remains calm, as he ponder the weight of the past years. Slowly but surely, he’s knocking at every past project’s door. Here are his holiday pictures, freezing these biannual productions in a
still state of stance.
Who influences you graphically?
Hard to pick one for this project. Influences span from the photographers of the last century to contemporary matte-painting artist and pure graphic design agencies. For this work, I could name Fan Ho, a chinese photographer from the 60’s. His monochromatic work had a big impact on how I articulated and developed the project, especially, the way he composes intriguing scenes with a particular attention to the subject and depth of field.
How important is the concept montages for the development of the project?
I perceive that the montage is more of mental exercise rather than a final graphic outcome. Similarly to a dissertation, an effective image should include the reading of axes, within the montages are the simple expression of these notions. In my case it’s a triad; Traveler – Monument – Landscape.
What is your take on the architectural montage? How effective a tool is it to test and explore ones architectural intentions?
The fastest and most effective way to picture an idea. In a world ruled by 3D visualization, I perceive this way of producing images as a conceptual refocus. But trends are cyclical, and I have no doubt that’ll slowly fade away; making room for the next one.
What defined the use of a monochromatic palette for the final images compared to the initial collages?
- Intemporality: for this project which is in constant flux, I wanted to detach the final images of time and trends effects.
- Importance of space rather than materiality. Consisting of separate readable layers: the man, the built and the unbuilt..
- Aesthetic unity: I wanted to create a post-apocalyptic atmosphere with those spaces falling in disuse. As if a digital exploration led to the discovery of these digital remains.
Can you tell us a bit more about your work process in terms of project development and production of visuals?
This project is divided into two phases, the first is the development of the project itself. The second phase is the re-discovery of this project because of the digital traveler.
How did your studies throughout the five years influence this side project?
This project is testament of the intriguing relationship each architect has to his early projects. One can easily see these digital paintings as memory postcards. Towers, as tokens of memory. Memories contemplated and contemplating, in a deep sea of layered foggy souvenirs.
I couldn’t say it better than the french poet Charles Baudelaire:
“Present time is reduced to a mathematical point, and even this mathematical point perishes a thousand times before we can affirm its birth. In the present everything is finite, and this finite is infinite in the velocity of its flight to the death. “
_ Charles Baudelaire, Les Paradis Artificiels, 1860