[…] too much is never enough
Bordering the transparent, this is the final instalment of the familiar saga that Guillaume Geneste developed between spring 2012 and
winter 2016. Bordering on the transparent insofar that it deals with situations organised in images by the photographer, even if taken
with an amateur camera. The identitary interplay between eye and hand – and between these and the body and memory – constitutes
the story of the photographer.
Held in the photographer’s hands is a magical universe, made up of suspensions, presence-absence, codification, alchemy and – as
Vilém Flusser puts it – an aspiration for freedom. And that freedom – which is more deliberation and will than sentiment – is as exclusive
as love, a universal quality about which Beaumarchais thought while writing and which appears here – albeit implicitly – as the title of this
analysis: trop n’est même pas assez.
The days are the sum of our experiences, the things we learn, our dreams and ideals, our feelings and regrets; what we have learned
and felt and, at each moment, our bodily state, which routinely explodes in emotions as both a mechanism of survival and of expression.
As we know, these emotions are public and indiscreet. Sentiment, on the other hand, is forged through awareness of a repeated
emotion and does not necessarily become public until it finally is, in freedom. This is what Guillaume Geneste expresses in his hundreds
of photographs that give an account of a life. Yet, the photos are not only family scenes.
- Photo #1
Guillaume Geneste is founder of the laboratory La Chambre Noire in Paris opened since 1996. He draws the images of many photographers authors and practices film and digital processes. In parallel with his activity as a shooter, he photographed his wife Colette and his two children Chloé and Gabriel as “family self-portraits” where he performed with them at their side.
Teresa Siza was the director of the Portuguese Center for Photography in Porto.