Thursday, December 29, 2005


The photographs, painting, and collages of Emmanuelle
Gauthier are each different manifestations of the same
desire, to communicate the basic mystery of life. 
Though the artist works in a range of different
mediums, she never limits her esthetic choices to one
type of image at a time, nor does she restrain a
natural inclination to exhibit them together, creating
tangents of recognition. Much of Gauthier’s imagery
comes from media sources that may include high school
text books, events reported on TV news programs, as
well as from her own senses. Combining first- and
second-hand images, Gauthier simultaneously offers up
a critique on the nature of meaningful encounter and
on those sources of knowledge which contribute to it.
The many specific images she portrays do not
immediately answer the questions they pose, but
provide further details--further complexities--that
open up the perspective of the viewer. Rather than
seeking a highly focused and morally specific imagery,
the artist expresses the broadest possible spectrum,
which in turn provides more context, and more answers
that ironically enter into a dialectic with existence.

--David Gibson, Article Projects

David Gibson / Article Projects
205 East 78th Street 19L, New York NY 10021
T. (212) 772-2351 E.

Did you see the friedlander show? your (trailer)
reminded me of depardons and van der keukens new
york (scans), i.e. images through sounds or sounds
through images. which is good (legacy).. cd

Chris Dercon From The Haus der kunst Museum in Munich

Emmanuelle Gauthier's work has an ethereal and
atmospheric quality, with a delicate sensitivity to
light which creates a mysterious and stagelike
effect on reality.

Irene Nikolai
From Nikolai Fine Art Gallery.

My meeting with Emmanuelle Gauthier's collages

Currently, the artist is dedicated making collages,
after she prooved herself in the photography domain.
These new innovative works, underline an artistic
maturity, and cannot leave you indifferent.
Images from the daily press, advertising ads,
informations that you could call"cultural archives"
are glued to the colorful canvases. All of these
images are knowned to the spectator ( Chanel lipsticks, Van
Gogh sel portrait drawing< american comics, etc),
nonetheless, the images seem, little by little to
become foreign.
In fact, these popular visuals, distance themselves
from the viewer, on one hand, because the artist place
them on a noble medium that is canvas.
In that sense, the imagery used in publicity campaigns,
that an expert eye encountered a few hundred times
before in whatever publications, becomes unique in
this context.
In another hand, the association of these images
between them reinforce a sentiment of amazement.
Since when Yves Saint Laurent lipstick is flirting
with cops?
The visuals transpositions awakes one's imagination,
that is challenged to look for derivatives
Did Marilyn Monroe liked to relax by the swimming pool? Was
she a man in disguise, like it might be suggested on
an other image?
We can name these collages " Lien paintings". Our
spirit compares all these images, associate their raw
violence or their warmth, interrogating, separating
and paradoxally rassembling.
In an attempt also to pursue a circuit that draws
painting jets, Pollock style, and working to join real
images to our imaginary .
Distance or superposition of images, close or far away
from the daily life, attraction of the colors and
images scrambling...notions that we observed too in
her photographic works.
We will remember that our high in color meeting with
Emmanuelle Gauthier's paintings/collages is
exhausting, because it requires an active
participation, and still it is advised to glue
yourself to it.

Agathe Dejoie,
Art rep/writer
Madrid, January 9, 2006


Artist Statement-

Video art together with photography examine the
parallels and liaison between history and truth. The
two mediums address issues of misinterpretations,
miscommunications and language barriers .
Other themes such as life and death, human rights and
the rights of
animals are very close to my mission of wanting to
make a positive change in our life and, give back to
this world elements of beauty and wonder.
Characterized by a visionnary force, the works trace a
sense of tragedy and fragility. Inspired, intricately
and sensuously styled, the art video
titled "Lace" presents lustrous images voluntarily
slowed down: capturing and contemplating the
moment...all in a surreal film speed. It translates
dreamy and eery qualities to movement decomposition
and into a different environmental transposition.
Against a curtain of violent rupture/ isolation, and a
will for using art as an export for social progress
and awareness, the images' aesthetics import a wide
range of poetic interpretations.
Experiencing with new software techniques and digital
interventions the photography juxtapositions or layers
deepens and
twists meanings.
The moving images are mixed in with music composed
with fragmented sample sources running across
cultures, time and sensibilities. The piece highlights
and emphasizes the importance of cultural differences,
the richness and depth of cross cultural exchanges as
well as tolerance, and dignity.

Emmanuelle Gauthier
NYC, 2006


I have always been interested in exploring the
juxtaposition and convergence of illusion and reality.
My photography and film incorporate many references:
video, music, cinematographic special effects, set
design, architecture, poetry and reverie. I’m
interested in linear readings as well as the
possibilities of subjective reinterpretations of
events that have shaped our realities.

Luminous and ethereal the images are charged with a
sense of longing, hope and a dreamy allure. Vibrancy
of color imbue the photographs with a warm and sublime
glow. In my process I embrace surrealistic techniques
and theories.

Filmmaker’s Luis Bunuel and Jean Cocteau have informed
and inspired my work. Through my films and
photography, I capture the intimate beauty of the
details of life exploring the interconnections and the
fragility of existence.

Emmanuelle Gauthier, New York City,2004



Artvideos titled Dolphins, Transitoriness ( included
in the British Museum collection), dolphins,
effervecence pills, orthodox church, speak with images
mixed with sound, in an elaborate montage that
emulates one's imagination.
And encourages one's of having their own
interpretations, through imaginative stimulus...
Using music, editing techniques, repetitive images, an
original concept, and the utilization of storytelling

The ensemble of my photography works is wrapped up in
a diary style survey of my aesthetic preferences.
Made out of attentive observations where my life
events have transported me.
The different work series ultimately come together in
a reverie collage.
In an omnipresent and also very direct attempt to
unveil life's deep mysteries the work is mostly
revolving around the themes of loneliness,
psychological states, betrayals, fantasy and reality
realms, blurring system beliefs.
It is translated visually with an imagery of empty
melancolic interiors, extreme close ups of human
forms, close ups of objects, exteriors, abstract
environment which are emotionally charged with a range
of expressed and repressed feelings.
The photos tell the story of social changes throughout
decades, and freezes time into a kaleidoscope of
photos mixed with newspaper clippings, journal entries
and the use of mixed media.
Individual portrait's placed together to suggest a
single narrative in an exhautive editing process; that
aim at a critical, long thought juxtaposition of
In an inherent artistic logic, the ensemble of the
work thrive to make people think.
Using subjectives point of views designed to haunt
them for a long time.

Emmanuelle Gauthier

New York, September 2005

BIOGRAPHY WRITTEN BY RICHARD VINE / Shows Press releases and essays

Emmanuelle Gauthier  Born in 1971, Emmanuelle Gauthier is a French fine arts photographer who has lived and worked in New York since 1994. She studied photography at the Ecole des
Beaux-Arts in Paris, as well as film structure and production techniques at the Université de Paris VIII.
Her training also includes history of photography
classes with George Pitts, the photo editor of Vibe
magazine. Thereafter, working on independent productions, she assisted director Eric Ceret on his documentary Diaries and director Mark Humphrey on numerous music videos. 
As a freelance photographer,Emmanuelle Gauthier has contributed to numerous publications such as
Citizen k, Spoon, Trace, Zing, The Fadder, Trax,Madame Figaro, Dazed & Confused, and Pure.
Among her commissions are ad campaigns for Audemars Piguet,Fred Sathal, and Totem. 

Emmanuelle Gauthier's images--of airports, clubs, city streets, and glamorous youths--often imbue their
subjects with a dreamy allure. Her figures smoke and drink in louche surroundings; some pose with clothes laid on top of their bodies rather than worn normally. All seem too hip for love or grief. Yet their bohemian chic is inseparable from a pervading sense of desolation--as if the emptiness of the jetways had entered every aspect of life for these young urban nomads.  

Most recently, Emmanuelle Gauthier completed a
compilation video of interviews with several New York-based artists with whom she has an aesthetic affinity: Andres Serrano, Dennis Oppenheim, Scott Hug,and others. Here scenes from the urban environment, including the living and working spaces
of the artists, are punctuated by shots of a sleek building lobby and highly reflective revolving door*emblems, in effect, of the hardness, gloss, and transitoriness of life in New York*s often impersonal milieu. 

Emmanuelle Gauthier has previously exhibited in New York City at Marcus Ritter Gallery, Nikolai Fine Art Gallery, Egizio's project, Cynthia Broan galleries. And in Hong Kong at the Institute of Matter gallery.

Richard Vine
Editor at large at Art in America

Remy Toledo Gallery/Projects
is pleased to present an exhibition of three young artists
"Candy for Dinner"
Emmanuelle Gauthier, Vadis Turner, and Hu Ren Yi.
This dinner party has been cooked in America , China and France .

French photographer Emmanuelle Gauthier presents a different kind of candy, one of sweet seduction. In her latest series Plastic Baroque, techniques of digital manipulation create a refined and glamorous body of work. Layering lush imagery from European and American painting, Gauthier creates contemporary photographs of intricate beauty. Her composition is simultaneously dense and fluid with rich coloration and painterly quality as she explores favorite subjects in different hues. Creating a dreamy allure the images are charged with a Baroque sensibility, seducing the viewer with fairytale settings and subtle luminosity.

Vadis Turner exhibits cupcakes and a tea party constructed from kitchen materials and sewing goods. Influenced by generations of southern women who reigned in the kitchen and sparkled at society events. The immanent artist was expected to learn the ways of
a proper lady, folding her napkin properly and writing gracious thank you notes. Such traditions have been replaced by fast food and superficial entertainment, which becoming our legacy. Many now eat candy for dinner.

This exhibition will be the first viewing in New York of paintings by the young Chinese artist Hu Ren Yi. His candy color like paintings are cynical and playful with undertones of sexuality, family and politics. They are constructed simply, although the concept is much deeper than what physically appears on the surface of the canvas. The viewer is engaged by the dream like quality of the images. There is an obvious influence of the tradition of Chinese painting that merges with the contemporary.

Aesthetics of Belonging
Curated by Kasia Kay- Scope Artfair- NYC 2007-

Layered and complex ideas of gender, identity, belonging, sexuality and intimate narratives are explored in selected artworks. Presented here short-films examine issues of relationships, the construction of female and her belonging to society, and in relationship.Few works with focus on aesthetics of belonging to space, allude to notions of absence and presence, a sense of place and of no place, volume and void, notions of home, as well as personal freedom and belonging to a pre-constructed world. Artists included: Kristin Anderson, Sandra Bermudez, Emmanuelle Gauthier, David A. Parker, Nick & Shelia Pye, Alicja Karska and Aleksandra Went, and Chris Wasko.

Contemporary Baroque: Extreme Excess/Özel Sergi Participating artists:

Marina Zurkow

Molly Dilworth

Yael Kanarek

Emmanuelle Gauthier

Rsula Endlincher

Curator/ Küratör: Michele Thursz

The participants in this exhibition were chosen as a curator's choice. In the first round of selection, I realized that I was interested in works that represented an ornamental or ornate quality.

The natural tendency would be to connect the obvious definition of ornament and ornate to a traditional Byzantine or, in Western terms, a baroque, and the relationship to art and craft that came from Turkey.

I have decided to go astray, and to instead address a broader public and look at what might be classified as Contemporary Baroque, a category with little to do with the historical definition.

Here we look at the term baroque in relationship to the ornate use of new technologies in the artist studio and in society. Artists today have pushed past the uses of one said medium and practice to create a personal position in what seemed to be a plastic culture.

These works are visually pleasurable, with carefully designed aesthetics to convey complex structures of process, to create an object that can be read in many ways. On first sight the objects can be read as icons, with reference histories that are familiar and not apparently technologically driven, though each work is imbued with the possibilities set forth from technology.

Each artist’s precise use of information and their artisanal skill in producing art objects laden with this information; result in what might be thought of as tangible hyper-objects. They are hyper in relation to information and also in their ability to transfer by means of virtual and physical states, histories, stories, and technical information.

These seemingly decorative works can be read in many ways. They can be thought of linearly as narrative works or a viewer can fall into the proverbial rabbit hole that includes them into the overall narrative of this exhibition: Contemporary Baroque - extreme excess.


University of Paris VIII in Paris,France- BA Film structure, Production techniques,Multimedia
Ecole des Beaux-Arts in Paris- Drawing and painting
Parsons School of design in New York,USA- BA History of Photography

Works included in the MoMA, NYC,USA-
British Museum Collection, London-United Kingdom-
Chelsea Art Museum Collection, NYC, and private collections.

*****Selected one person shows*****

May 2009: Cannes Film festival-Short Film Corner & Intersections Films
"Cosmopolitan" screenings - 6 minutes short film-FRANCE

May 2008: Intersections Art Projects-NYC-USA
'Colors Wanted"

June 2007: Ca'Zanardi Palazzo-Venice-ITALY
Photography installation from Latest Series Plastique Baroque-

March 2007: Intersections Art Projects-USA-
Site Specific installation with Neons sculptures, Photography,
paintings, and videos

February 2007: Red Dot Art Fair, Plastic Baroque Series of photographs
and Videos,
Co-curated by Emmanuelle Gauthier and Asher Remy Toledo for Remy
Toledo Gallery in NYC. Park South Hotel-NYC-USA

October 2006: "Candy for dinner" presenting new photography works from
the series "Plastic Baroque" and a video titled
"LACE" at Remy Toledo Gallery, 529 West 20 Street-CHELSEA-USA

October2005: 109 Crosby gallery-
PURSUIT curated by Lynn del Sol from CTS.NYC-USA

May 2005: Intersections Presents, exhibition of new
works from the Series: Brazil reportage

December, 2004: Art Basel Miami.
On site installation with new photographs, paintings and videos in an hotel Suite.USA

January 2004 : Bauhaus Lounge,
Photographs from the Series "SCREENS."

January 2002: Institute of Matter in Hong Kong, Photography show.

********Selected group shows********

December 2009: Aid For Aids Benefit

October 2009:Allen Projects curated by Robert Curcio-Chelsea-NYC-USA
" Fall Survey"

August 2008: Robert Curcio Projects-NYC-
"Walks-in welcome"

June 2008: Garden Art Party-3AM Projects-NYC-

September 2007: Instanbul Biennale. Curator's choice show curated by:
Michelle Thursz " Contemporary Baroque: Extreme

June 2007: Corniche Art Fair, Venice. Remy Toledo Gallery- NYC-USA-ITALY

March 2007: Art of Americas Artfair, Miami. with Remy Toledo Gallery-USA

February 2007: Scope Artfair NY- "Aesthetics of belonging" curated by Kasia Kay

January 2007: Palm Beach Art Fair with Remy Toledo Gallery-

January 2007: "Twilight Time" curated by David Gibson at Realform- Brooklyn-NY

December 2006:Scope Miami with Kasia Kay Gallery, and PAM (Perpetual Art Machine)

August 2006: Kasia Kay Gallery, Chicago-USA

July 2006: SCOPE Hamptons projects. Curated by Lee Wells, photography
and Art Videos for PA)-

May 2006: SAATCHI Gallery group exhibition curated by Jane Sutherland
and the Light Foundation to benefit the Harlem
School of Arts-USA-

March 2006: Intersections Projects at
Diva Artfair in NYC. Video works ( Dennis Oppenheim, Benedicte Gauthier)

October 2005: PHOTO NY Artfair with CTS, Creative

June 2005: WATERWAYS at the Venice Biennale curated by
Ethan Cohen, Renee Vara. ITALY

PRESENTS-NYC- Curated by David Gibson

STARLIGHT Group show

January 2005: D & H gallery inNYC-
CHROMALUX Group show

March 2004: SCOPE New york with Damien Montalieu Projects and
Pablo's birthday Gallery in NYC.

March 2003: SCOPE New York with Nikolai
Fine Art at the Dylan Hotel.

Feb 2003: Cynthia Broan Gallery: New York City
Recession 2003, $.99 Show.

January , 2003: Egizio's project gallery

February 2003: Nikolai Fine Art Gallery
New York City.

April , 2002: Marcus Ritter Gallery, New York City-Chelsea-USA-
New Photography works along with works on paper from collaborative artists team:
Petra zmirk, and Moriceau.