Lucas Leglise
fr / jp

Selected Works :

  • 1. The Idea of Photography, 2019
  • 2. Where Photographs Come to Life, 2021
  • 3. Coffee Machines, 2019
  • 4. Astalift, 2020
  • 5. View from Saint-Énogat Cave, 2020
  • 6. A Windowless House, 2018
  • 7. The Open Air School, 2018
  • 8. пл 44 43, 2019
  • 9. Throught (Scala), 2017
  • 10. Muji house, 2019
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    The Idea of Photography
    close up

    The Idea of Photography
    Fresson print, 30x40 cm

    « Like me, the idea behind this discovery first occurred to you in Cagliari. »

    Although Nicéphore Niépce took the very first photograph of history in Saint-Loup-de-Varenne near Chalon-sur-Saône, a letter he wrote to his brother Claude on 16 September 1824 reveals that the idea first occurred to him in Cagliari, Sardinia.

    The photograph here shows a panoramic view of Cagliari at night. It was taken two hundred and twenty-two years after Nicéphore Niépce’s journey to Sardinia.
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    Where Photographs Come to Life
    platinum-palladium print, heliogravure print, 28x35cm each
    Fresson print, baryta print, Cibachrome print, chromogenic print, pigment inkjet print, 40x50cm each
    Series of 7 photographs in which each photograph shows the workshop that made its print, thus presenting 7 places near Paris, France and 7 photographic printing techniques.
    Diamantino Labo Photo, rue Jules Ferry, Bagnolet, chromogenic print
    Where Photographs Come to Life
    From left to right then top to bottom : Atelier Filippo, rue de Rochechouart, Paris, platinum-palladium print ; Atelier Fresson, rue de la Montagne Pavée, Savigny-sur-Orge, Fresson print ; Atelier Heliog, rue Porto Riche, Meudon, heliogravure print ; Atelier Publimod, rue de Sévigné, Paris, baryta print ; Cadre-en-Seine Labo, rue Bisson, Paris, Cibachrome print ; Processus, rue de la Roquette, Paris, pigment inkjet print.
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    Coffee Machines
    Ars-imago Direct Positive Paper, 4x5″ each

    A series of photographs of coffee machines. The Caffenol process, an alternative photographic development process based on coffee and invented in 1995 at the University of Rochester, was used to develop these photos with the machines’ own coffees.

    The photographs are unique images. They were taken on black-and-white direct positive paper with a 4x5 view camera.
    Exhibition view, Jeune Création, Fondation Fiminco ( 2021 )
    From left to right then top to bottom : Aeropress, Melitta, Jeneba, Bialetti Moka Express, Hario Slow Drip, Cona new model D, Bodum French Press, Nescafé, Cezve, Handpresso, V60, Hario Cloth Drip, Flair, Disposable Pour-Over, Ilsa Napoletana, Boss Black, Nespresso Magimix, Phin.
    Coffee Machines
    Exhibition view, Espace de Réflexion, Spiral, Japan ( 2019 )
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    Astalift
    Lambda print on Fujiflex, 40 x 50 cm

    Since 2007, Fujifilm have been manufacturing a range of cosmetic products whose design was inspired by research carried out by the company on the antioxidants used to preserve the colours of photographs.

    In particular, the development of Astalift’s Jelly Aquarysta, a facial care product, relied on technology employed specifically for the micronisation of a molecule, astaxanthin, in its emulsion form - as used for Fujifilm rolls and photographic papers.

    In this portrait, the surfaces of the model’s skin and of the photographic print relate to each other.

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    View from Saint-Énogat Cave
    Fuji Provia 4x5 sheet film on a light table

    A photograph of the sea, taken from the entrance to Saint-Énogat Cave near Dinard and then developed inside the cave, in a place that was sufficiently dark so that daylight would not interfere with the photographic unveiling process.

    A photographic laboratory was set up in 1877 in this very cave by the Lumière brothers, Auguste and Louis, while they were still teenagers. As the story goes, they became trapped one day when the oncoming sea filled the cave after they had lost track of time. It is at this moment that they promised each other they would work together forever should they manage to get out alive. Subsequently, the first ready-to-use dry photographic plates were marketed under both of their names in 1881. So was Autochrome, an early colour photography process, in 1893.

    View from Saint-Énogat Cave
    Print for an installation in France's Ministry of Culture ( 2020 )
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    A Windowless House
    70 mm film, color, mute, 10 s

    Laboratory : Fotokem, Burbank
    /unemaisonsansfenêtres

    ‘A Windowless House’ is a 70-mm, ten-second film showing a blind house built in 1976 in Osaka by Tadao Ando. The identical same shot - of the little row that includes the house - has been replicated on each of the film’s 240 photograms.

    In this piece, the film’s roll has been showcased in preference to a projection - either on a light table or as a poster displaying the whole scanned roll printed in its actual size.

    By highlighting a film’s making and its recording medium while evoking a more palpable link between the cinema and a way to live in the world, this piece brings to mind the various aspects of peoples’ relationship to images.

    A Windowless House — film stock
    Exhibition view, Voyage, Espace des Arts, Chalon-sur-Saône ( 2019 )
    A Windowless House — poster
    Installation view, Altarea Head Office, Paris ( 2020 )
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    The Open Air School
    Cibachrome print, 40 x 50 cm

    Sanatoriums were the inspiration behind Suresnes’s open air school, which was built at the beginning of the ‘30s with the intention of protecting children from tuberculosis by exposing them to the air and the sun. The architects, Eugène Beaudouin and Marcel Lods, designed classrooms consisting of stand-alone pavilions with large foldable glass screens as walls. With these partitions folded, the indoor and outdoor spaces were no longer separated, allowing the children to study in the open air.

    In the photograph here, which shows one of these removable screens, the school’s wooded grounds and the classroom’s reflection blend. This raises the question of whether the world and one’s place of study can coincide.
    The Open Air School — projected 6x7 slide
    Exhibition view, In Between, Tsukuba museum of art, Japan ( 2017 )
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    пл 44 43
    Cibachrome print, 40 x 50 cm

    The Trans-Siberian Railway is a nine thousand-plus kilometre long rail network linking Moscow to Vladivostok. This photograph was taken from berths PL 44 43 on one of the trains that run on Russia’s Trans-Siberian Railway. It reveals nothing of the outside world apart from some sunlight scorching the picture in places.
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    Through (Scala)
    6 x 7 slide on a light table

    Very soon after roll film was invented by Kodak, it was used to look at the Sun: this became possible because the surface of this black-and-white film is made of a silver salt that blocks the Sun’s harmful rays.
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    Muji house
    Digital print on blueback paper, 4 x 3 m

    This photograph was taken inside a Muji shop in Osaka. It shows a prefabricated house that was built to half its original size to make it easier to display.

    As a full-size photograph and print, it echoes photography, whose key features are also reproducibility and change of scale.