Stéphane Kossmann, born in Tours, France, studied the art of photography at the Rencontres Internationales de la Photographie in Arles. He has since received international recognition and appraisal for his work photographing celebrities at the Cannes Film Festival for the past 28 years.
His work, influenced by the artists Rembrant, Albert Watson, and Mark Rothko, plays with light in tandem with the lines and forms of the human body, and therefore, consists of a unique style that merges the characteristics of photography with those of painting.
His fascination with crowds, how they form, and what and whom they are composed of, has raised and highlighted many important themes in his work including globalization, individualization, and diversity.
Stéphane has produced two books, Black & White Carpet, and Observations sur les marches de Cannes (Observations on the Steps at Cannes). His photographs have been exhibited in galleries and at film festivals, including the Voce Di Gallery in Soho, NYC in 2014, the French Alliance in NYC in 2014, the American Film Festival in Deauville, France in 2007, the Macondo Gallery in London, England in 2005, and the Geneva International Film Festival in Switzerland in 1996.
Cannes served as his massive, outdoor gallery in 2004 and 2005, when his photographs were displayed on 100 square meter posters around the city. His work also received international attention for being showcased in 2006 in Paris during the European Month of Photography, a festival that takes place in November only every other year.
WALKING NEW YORK exhibit
This exhibit consists of 12 Chromogenic Color Prints with Plexiglass Finishes, created at Laumont Studio in NYC.
It has taken Stéphane ten years of walking the streets of New York City to accumulate the pieces displayed in WALKING NEW YORK. His technique in taking these photographs emphasizes the danger and potential in photographing unsuspecting and unconsenting individuals by using the public as subject. In highlighting the diversity of NYC and the process of its demonstration, these images portray the complex relationship between an artist and the object of study.
Stéphane merges realism with abstract expressionism to procure a style depicting the infinite amount of meanings each object, seen through the lens of the camera via the eye of the photographer, can be given. This work demonstrates the potential of the camera to alter an object to the extent of transforming it into something else entirely. In its new form, it has the freedom to be interpreted by its spectators and acquire meaning outside of its respective domain.
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