For any informations about prints,
Please Contact Galerie 127 : https://www.galerie127.com/artistes/
Represented by Galerie 127
Member of the collective project Temps Zero.
Bourse Brouillon d'un rêve, SCAM 2019
Bourse du CNAP, Commande Jeunes-Génération 2017
Lauréats Parole photographique Actuphoto 2008
Coup de Cœur Bourse du Talent Portrait, Photographie.com 2005
Lauréats Grand Concours Agfa 2003
Collection FNAC et nombreuses collections privés
Exibitions
Personal
2022 Sète#15 Festival ImageSingulières, Sète, France
2021 Galerie 127, Montreuil, France
2019 Terres Basses, Centre d'Art et de Photographie de Lectoure, France
2018 Terres Basses, Galerie Confluence, Nantes
2017 Regard sur le Pays Basque - Bibliothèque de Bordeaux, France
2017 VOLTA Espace St Cyprien, Toulouse, France
2015 Dantza Izpiak - Institut Culturel Basque - Biarritz et Bordeaux, France
2015 Museu UFPA, Belèm, Brasil
2014 Kids from here - Musée basque et de l'histoire de Bayonne, France
2008-2009 Paysages intimes/ Ikuspegi goxoak, exposition itinérante, Alliances Francaises, Spain
2007 Paesaggi interiori, Festival triestèfotographia, Trieste, Italie
2004 Bardos / Conseil général des Pyrénées Atlantiques, France
Collectives
2021 Paris Photo, Galerie 127, Grand Palais Ephémère, Paris, France
2020 AZIMUT/ Tendance Floue, Musée Nicéphore Niepce, Chalon-sur-Saône, France
2019 Temps Zéro, MNAC Bucharest, Romania
2019 The Other Woman, Galerie Confluence, Nantes, France
2018 Eyes Wild Open / About a Trembling Photography, Musée Botanique Bruxelles. Belgium
2017 Jeunes-Génération/Commande publique CNAP, Niort Villa Pérochon et Festival de Sète. France
2016 Les Nuits Noires Photographique - avec Jane Evelyn Atwood, Forum des arts et de la culture, Talence, France
2009 International festival of photography, Pingyao, China
2008 Mois off de la photo, Cartonnerie, Paris, France
2008 Lauréats Parole photographique, Vendôme, France
2008 I bought me a cat, b-gallery, Rome, Italy
2008 Charlet's photography, Centre Iris, Paris, France
2005 Cycle Keep the distance, Espace Lhomond, Paris, France
Projections
2013-2020 Temps Zéro, Rome, Braga, Athènes, Paris, Toulouse, Berlin, Vienne, Bucarest
2015 Angkor Photo Festival, Angkor, Cambodge
2015 MERCADONEGRO, Montevideo, Uruguay
2014 COIL PROJECT, Television Control Center, Athens, Grèce
2013 Itinéraires des photographes voyageurs, Bordeaux, France
2007 EXILS, 9 photographers, 9 visions, Paris, France
Text
Gabrielle Duplantier
Canto Libero
Gabrielle Duplantier is part of a long French tradition of women photo-graphers who have built inside themselves a personal world
rooted in the familiar landscape of their childhood or their daily life. For them, above all, it is a matter of living, breathing the ambient air, experiencing the good things in life or feeling the strong emotions of their interactions in order to render them with the poetry of wonderment
or the power of their torments.
Gabrielle Duplantier is now recognized as one of the most powerful contemporary voices in photography,
a voice that immediately carries like flamenco or fado, an outcry at once strong and melancholic but that wipes away everything
along its path, like the wind that blows over the moors and hills of her native Basque Country, calling out to myths and legends.
With a raw, high-contrast palette of black and white, she has created a novel visual alphabet, painstakingly constructed over time.
The observer is drawn into her images by the sensuality of their shapes and materials,
but also by the blurred faces and bodies engaged in rituals, often mys-terious, that play with reality and fiction.
Isn’t the essence of photography to disorient us, to place us in a suspended time between two shores?
With Gabrielle, we get the full treatment as she slips between the Brontë sisters and the witches of Zugarramurdi,
who were said to provoke storms so that boats would never return to dry land. In her fantastical landscapes,
shadows and the breadth of large vultures always loom, activating madness, desire and adventure.
The omnipresence of nature and landscapes, harsh and primitive, battered by winds, becomes in her photographs a powerful
metaphor for inner events and the torments in the souls of her characters.
Gabrielle finds her full creative power within the realm of books, which have become the preferred place of expression for photographers,
to the detriment of exhibitions. Terres basses and Volta provide a glimpse of her novel approach from the moment one
is in the presence of their expressionist covers. The book constitutes an autonomous language, marked by great freedom,
making it possible to work with a number of elements—paper, ink, bindings, added text and graphic design—but above all in the face-to-face arrangement of images and the space of the double page. This is where mysterious encounters arise, enigmatic groupings that the American photographer Ralph Gibson brought to light in the 1970s with virtuosity in his work Déjà-vu.
Among photographers, the book has gradually become the true original which they sometimes consider
more essential and effective than their prints. In this way, the book is like an experimental film with complex editing
for which the author is solely responsible, with the help of an editor who knows how to listen.
With the press Lamaindonne, Gabrielle has found a true and talented partner.
The book circulates, defies time, and gives flesh and blood to images that move across screens.
Braving an increasingly virtual world, Gabrielle stands by the autobiographical element essential to photography.
This is because photo-graphy makes each encounter overwhelming by using reality to trigger the inner world.
The result is a quasi-mystical experience enabling the photographer to live on the peaks of our often dull existence,
making it more exciting. Moreover, there is the solitary but essential experience of the darkroom,
this face-to-face encounter with the image revealed in the red light that the author can shape with her formal
or expressive desires through the incantation of her hands.
A true canto libero!
Claude Nori 2022
//
Her trembling, blurry images are a terrain that gives substance to dreams and fiction.
Her powerful and fragile portraits of women and children can be read as infinite landscapes.
Although, she takes her photographs within a close perimeter of the Basque Country, where she was born,
or her native Portugal, a sense of wonder and magic often surfaces. As if her mystically landscapes,
her strange and ghostly characters/apparitions, her mysterious animals, had all escaped from a story book or folk tale.
Her photography often, without ever seeming passé or too heavy with references,
reflects influences from painting as well as Victorian photography and literature.
Her photographs are like unveilings - though without any hint of indecency -
Gabrielle Duplantier is one of those photographers who drill through to what hides beneath the surface,
behind appearances, as if she could see beyond the skin of beings and objects, through cracks, fissures and secrets.
Caroline Bénichou - Eyes Wild Open 2018