Anthony Pomes: portrait as a means to reveal emotions and peculiarities of the subject

Anthony Pomes began his career in photography in 2011 using natural light to portray friends and nature. Based in Paris but originally from the South of France, he developed his artistic and cultural path in high school, studying drama and literature. These disciplines inspired and continue to inspire him for his pictures. His sensibility is also emphasized through dancing, another inspiring art that he is currently practicing. Through his photography, he desires to feel and capture the subject’s emotions, just as theater, literature and dance do. In particular, gaze and body movement are the most important aspects to portray through which he can bring out the emotions he is looking for. 

Self-portrait of Anthony Pomes

When did you realize your passion for photography and how did it start?

I started drama classes at 12 years old and followed with literature and drama studies in high school. I was on scene, playing, creating characters and enjoying the creativity around. I also started a short model career which introduced me to the image and photo world. Naturally the art of photography came to me. In summer 2011, I bought my first camera and started practicing with close friends and nature around. I kept, and I am still keeping, literature and drama as my first inspirations. My shoots were kind of editorials remembering drama or literature characters. When I moved to Bordeaux, I started to shoot for the first time professional agency models who took me to another level. Portraits and natural light were my favorite playgrounds. Today I always keep in mind where I am from, always looking for sensibility and uniqueness in the portraits I take.

Who are the masters or artists who have been inspirational for you?

Naturally, I will say some drama’s authors like Shakespeare or Beckett but also modern photographers who brought the level super high at my beginning. I remember dreaming about Théo Gosselin photos or even admiring Florian Saez and Malc Stone studio’s lightenings.

How do you choose models for your photos? What has to catch your attention?

As muses inspired artists, I have to be inspired by a model: face, look, body shape, attitudes and feelings. But to answer your question, I will say that it is all about the look. Everything is in the eyes. They are kind of the mirror of the soul, as Cicerone said.

A selection of models/people who have a special talent for you and why?

This is the occasion to highlight recent faces I had the opportunity to collaborate with. First of all, I have to talk about my talented friend and eternal muse Céline. She has been my model since the beginning and we are matching when it comes to literature references. Secondly, the most seen and highly desired french ballet dancer Andreas Giesen, who is a great talent to follow when it comes to mouvement, beige tones and fashion outfits. Dance is also the strength of Jean-Baptiste Plumeau, that mixing contemporary and improvisation. The comedian Philippe Touzel has that glance in the eye who one could never forget: an upcoming artist to follow. Amaury Bent, an emerging french model, is a new face I had the chance to shoot a few times.
Finally, I will make a special mention to my dear friend and talented photographer Sébastien Marchand. He has the capacity to create and re-create infinitely. His imagination has no barriers. 

Your current projects and future dreams?

At the moment, my only project is to practice and experiment with photography. In the near future I would like to do more editorials and to portray more dancers and comedians – the best ones when it comes to facial expressions. In my future dreams I would like to go somewhere far from Paris and especially to a breathtaking place, creating photos around. They could be editorials, content creations for brands or portraits for some of my favorite faces and shoots for our portfolios. Exhibitions are always in my mind but right now I have no time to do them.

 Images credits: Anthony Pomes

David LaChapelle. I Believe in Miracles

The large-scale solo exhibition ‘David LaChapelle. I Believe in Miracles, at the MUDEC in Milan, produced by 24 ORE Cultura – Gruppo 24 ORE and promoted by the Comune di Milano-Cultura, is the result of a journey of artistic research lasting a lifetime which presents a previously unseen and, to some extent, surprising David LaChapelle. Over 90 works are displayed – including large formats, site-specific installations and new productions – directly from the artist’s studio, to present his vision of a new world and a potential new humanity.

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David LaChapelle, ‘Mary Magdalene: Abiding Lamentation’, 2019 (©David LaChapelle, courtesy of Reflex Amsterdam)

A series of works that are part of the new, visionary phase of LaChapelle

Starting with his early works, the eyes of the public are opened for the first time at the Museum of Cultures to a previously unseen series of works that are part of the new and visionary phase of his output – the last, dated 2022 – the result of the powerful legacy of his lengthy artistic and human experience. With an unprecedented project curated by Reiner Opoku and Denis Curti in partnership with LaChapelle studio, the Museum of Cultures hosts an exhibition itinerary that critically examines the human soul, investigating its various facets of joy, pain, solitude and passion, insecurities  and  ideals. Humankind and its relationship with itself, human beings in the surrounding environment and in society, humankind in nature. A very personal vision that the Mudec has chosen to present by staging this retrospective of the artist, furthering anthropological reflection on the present.

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The Holy Family with S. Francis‘, 2019, Hawaii (©David LaChapelle)
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‘Annunciation’, 2019 (©David LaChapelle)

The exhibition includes over 90 works which unfold in a flowing and captivating narrative, through the artist’s very personal vision of a “gestural” kind of photography; that is, a snapshot of the present while “alert” for the future ahead.

Images that reveal LaChapelle’s vision for a new world

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Landscape: King’s Dominion‘, 2013, Los Angeles (©David LaChapelle)
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Lil Kim: Luxury Item‘, 1999, New York (©David LaChapelle)

Starting with works that portray the vulnerability of the planet and the fragility of humankind, together with a repertoire that looks at pop culture and the stars of cinema, music and art, the exhibition winds its way through images that reveal the artist’s vision for a new world. A world that seeks an uncontaminated and luxurious nature where everyone can experience spirituality, love and beauty and where men and women can finally live liberated from alienation and in unity with the natural context.
The exhibition itinerary is a personal journey steeped in memories and sentiment that purposely mixes a non- chronological order with the experiences of a professional and private life which, in the end, prove to be on the same level. New photos have been exhibited for the first time following the challenging experience of the two-year pandemic. They have been conceived in the natural surroundings of Hawaiian forests, where LaChapelle has made his home.

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Heliconia No. 1‘, 2020 (©David LaChapelle)
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Our Lady of the Flowers‘, 2019, Hawaii (©David LaChapelle)

The photos interpret certain passages from the Bible and seem to signify a “change of pace”. His style gradually becomes more intimate and pensive. The settings relinquish, at least partially, the surreal dimension to descend into a more realistic atmosphere.
Less saturated compared to his previous works, the colours invite us to go back in time to reflect on our values and on the need to see also ourselves in a miraculous new world.

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Spree‘, 2020, Los Angeles (©David LaChapelle)

Opening image: David LaChapelle, ‘Gas: Shell’, 2012, Hawaii (©David LaChapelle)

On the Road, the epic of music tours in the Pirelli Calendar 2022

After the stop due to the pandemic in 2020 (an event rather rare in the history of the publication, interrupted only in 1967, with the exception of the hiatus in the period between 1975 and 1983), the Pirelli Calendar comes back in dazzling form and relaunches itself, we might say. All this with specially designed packaging and a song, both by Bryan Adams, singer-songwriter with a brilliant cursus honorum in music – over 100 million records sold, three Oscar nominations, five at the Golden Globes, 15 (with one win) at the Grammys – who, since the 1990s, has embraced an equally successful photographic career, shooting covers and editorials for magazines such as Harper’s Bazaar, Vogue, Vanity Fair, L’Officiel and Zoo.



On the Road, the title of The Cal 2022, also shares its name with the Canadian artist’s song, a preview of his new album So Happy It Hurts, due out next March. The calendar, which comes in a square vinyl LP-like package, features an ad hoc logo, celebrating the company’s 150th anniversary, alongside the elongated initial of the tyre multinational.



The underlying thread of this year’s edition is therefore the journey, presented in a tribute through images to the era, in many ways distant and unrepeatable, of great music tours, microcosms in their own right, with their own rituals, places and times. In such things the celebrities of the day took shelter out of the concert, between relaxing breaks in majestic suites (such as those of the Chateau Marmont, buen retiro of the rich and famous of Hollywood, location of glossy shots along with the Palace Theatre, also in L.A., and the Hotel Scalinatella in Capri), hairstyling and make-up sessions, moments of focusing backstage, huge luggage sets, limousine transfers and futuristic recording studios.



To interpret such a complex theme, suspended between loneliness and vitality, intimate atmospheres and references to rock stars iconography, the author brought together ten A-list names, among the most representative of international music from the Sixties onwards: St. Vincent is featured on the cover (as well as in the February photo, where she poses in the nude, faintly illuminated by the rays filtered by Venetian blinds). St. Vincent, a chameleon-like performer reluctant to any classification, figures here with a platinum bob, and, while sticking out her tongue at the observer, shows a Pirelli-marked pick. Next up is Kali Uchis, wrapped up in a nude illusion garment, with fishnet stockings and femme fatale lingerie showing; Cher, absorbed in who knows what thoughts in front of the dressing room’s full-wall mirrors; Iggy Pop, bare-chested (how else?) and covered in silver dust, ready for one of his legendary punk histrionic performances; Rita Ora, seductively posing in a bathtub in a metallic knit dress; the theatricality of rapper Bohan Phoenix, standing on a piano in cargo trousers, combat boots and silver opera gloves. The all-star cast is completed by Grimes, Jennifer Hudson, Normani and Saweetie.



Adams himself closes the roundup conceptually and in practice, being photographed in the December pages in a classic American car, putting an end to the on-the-road itinerary between music topoi and old-school stardom. It is a visual tour that deserves to be explored in depth by visiting www.pirellicalendar.com, where you can discover behind-the-scenes footage, unpublished texts and interviews with the protagonists of the 48th edition of The Cal.


Earth Day turns 50. Ricky A Swaczy’s special reportage

On the occasion of the Earth Day, which promotes the rise of a new environmental awareness, we thought of collecting some inspirational images. 2020 is also a special year because it celebrates 50 years of Earth Day.

The special reportage by Ricky A Swaczy (Creative director and Founder of the Wabisabi Culture) captures the essence of a magical and illusory nature, which from darkness inveils the quietness of contemplation. A frame of transitory life. The evocative power of impermanent Nature

Instagram: @wabisabiculture

ALBERT WATSON AND BLUMARINE. IN CARPI AND EXHIBITION CELEBRATING THE PHOTOGRAPHER CAMPAIGNS

From April the 7th to June 17th the Musei di Palazzo dei Pio will be the set for Fashion, Portraits & Landscapes, an exhibition that counts over one hundred prints, both in black and white and colors, lookbook celebrating the artistic parternship between Blumarine and Albert Watson.

The exhibition tells the story of twelve fashion campaigns that the photographer realized between 1987 and 1992 for the maison. Most of the prints are originals that Watson printed himself, and bring the visitors back in time, during those magic and glorious years when fashion loved to play with creativity all around.

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Watson builds a consistent thread involving clothes, models and the surroundings. Not just fashion photography, but a complete new universe, that even those who don’t know fashion can find attractive and fascinating. The exhibition take place two year after the one that celebrated the association between Blumarine and Helmut Newton, between 1993 and 1999.
«It was a pleasure to work with Newton», said Molinari, «but, among all, Albert was the one who better portrayed the soul of our brand, made of romanticism, sensuality and femininity. The idea of a show, with our archive images, came from my daughter Rossella Tarabini. Taking back all these prints and see them again, all together, was really exciting for all of us».
027 (2)The designer remembered some peculiar moments on set. « We shot in Los Angeles, in Scotland, Las Vegas, London, New Mexico, San Francisco, Naples, Miami, New Orleans and Watson always menaged to create a relationship between those places and our fashion. We had the chance to work with some of the most spectacular women of that time, from Cindy Crawford to Nadja Auermann, Helena Christensen, Michaela Bercu, Naomi Campbell e Carré Otis.».

Watson underlined the freedoom that the brand gave him. «None of these pictures went in post-production. There was no photo editing at the time, you hhad to work just on set and Anna trusted me completely, and never gave me limits of any sort. Of course, some of them may be strong, less common in contemporary photography, but I made them always paying attention and respect to models and clothes. I remember some shots in which the model had open legs: I didn’t make them to be provocative, but that was a way to create lines in the picture. Most of all, I never forced a model into a pose. I’ve always explained my idea, trying to understand if she was comfortable with it».

 

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