“For me, a good image is an image that doesn’t give any answers but continually asks a question.” – Denis Darzacq
Denis Darzacq didn’t always dream about being a professional photographer, but rather fell into it when, a then popular French pop group, Les Rita Mitsouko asked him to take images of them. He began his career as a press photographer in France, which provided him with hyper exposure to contemporary society. He considers this time his teaching time, and used it to explore his social commentary and interest in the margins of society through his produced images. In 2007, Darzacq won the 1st prize for Arts & Entertainment at the World Press Photo Awards for his gravity defying series. La Chute and has since put out work that continuously captures cultural consciousness in a surreal-like state.
BULLETT talked to Denis about his latest work, a collaboration with Anna Luneman that explores mixed media by melding his images with ceramic work.
How did your new collection, Doublemix come to be?
When I asked Anna Lüneman to work with me on this project, we knew we wanted to mix images produced from the digital camera and some of her ceramics. Ceramics being the founding art of humanity, we wanted to explore the idea of mixing the most important technology of our time, which is the digital camera to something from the primitive age. We set to create a paradoxical shock where these elements should not be together but suddenly are together in one art piece.
What was it like collaborating with Anna Lüneman?
Anna and I have known each other for such a long time, really since we were teenagers and I truly love her work. I liked this idea of us sharing time and seeing what we could come up with together by mixing our disciplines. Our relationship made it very easy to work together. We were like an old couple that often had the same ideas.
How did her ceramic pieces inform your work?
I really wanted to explore my love of Lüneman’s ceramic work in hopes it would introduce me further into my own work. I started looking through my archival images to see how we could explore this. Up until this point, the mixing of photography and ceramic is very unusual. Our collaboration plays on the idea that everything is mixing together on a larger scale. We had to find a good balance of how the photography and ceramics dealt with one another in order to further demonstrate the importance of that.
Do you have a favorite piece from the collaboration?
The piece I really love is one you have not seen yet. It will be debuting at De Soto Gallery in Venice, CA. For me it was such success as it displays a well-balanced, great marriage of abstract photography and abstract ceramic. The image does not mean a thing. The ceramic does not mean a thing at all. But all together, I cannot take my eyes out of it.
What do you want people to feel when they view Doublemix?
What I’m pretty sure people will say is, ‘What is this? What do I see? Where does it come from? Why do I see these things?’ I want the work of Doublemix to lead the viewer to question beyond the direct reality of the image, to accept that an image is an image before information. I think it’s more mysterious, more large, more rich if suddenly my image doesn’t give me any information but pushes my mind to open.
DOUBLEMIX opens at De Soto Gallery in Los Angeles on May 23.