{"id":4107,"date":"2023-08-18T14:08:33","date_gmt":"2023-08-18T14:08:33","guid":{"rendered":"https:\/\/lavolante.art\/portfolios\/gil-rigoulet\/"},"modified":"2026-01-09T14:43:33","modified_gmt":"2026-01-09T14:43:33","slug":"gil-rigoulet","status":"publish","type":"portfolios","link":"https:\/\/lavolante.art\/en\/portfolios\/gil-rigoulet\/","title":{"rendered":"Gil Rigoulet"},"content":{"rendered":"\t\t
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Gil Rigoulet<\/h2>\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Chicago, 1978 \u00a9 Gil Rigoulet<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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Gil Rigoulet began his career in the press in 1975, and in the early 80s became the first regular photographer for Le Monde, with whom he worked for over 20 years. In 1985, together with Henri Cartier-Bresson, he produced a Le Monde supplement, Portrait d’un quotidien, for the newspaper’s first “open house”.
\nIn 1986, Robert Doisneau presented Gil Rigoulet’s photos in a portfolio for Photo-Magazine, and Christian Caujolle invited him to take part in the group exhibition and book “Vivre en maillot de bain” at the Deligny swimming pool, with Joseph Koudelka, Marc Riboud, Claude Nori, William Klein, Helmut Newton, Jean Loup Sieff, Jacques Henri Lartigue, Mary Ellen Mark, Franco Fontana…<\/p>\n

For three decades, he collaborated with numerous national and international press magazines, including G\u00e9o, Grands Reportages, Elle, Sunday Times, La R\u00e9publica, La Stampa and El Pais.
\nDuring this period, his work placed particular emphasis on the intensity of the gaze, the desire to move forward, to see and to show. For a man who immerses himself in the lives of others, his sensitive images take shape: rockers with slicked-back locks, kisses of love, photographers on the prowl, the body and water…<\/p>\n

At the same time, he developed a body of work as a street photographer in Europe, North America and Asia…<\/p>\n

In the 90s and 2000s, Gil Rigoulet developed his work on Polaroid 665, in black and white, playing with chemistry, solarizing negatives… <\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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I get out of a plane, 18 hours flight, I put a bag at friends,
\ntake the metro, the RER,
\ngoes down to Luxembourg, late morning, the terrace of Rostand.
\nShe’s waiting for me, a coffee, a tea,
\nI take a picture of her hair in the wind,
\nhis eyes disappear,
\nanother shot of her purple red lips,
\nthe table, the cups, the teapot.<\/p>\n

She doesn’t pay attention to the pictures,
\nI don’t know what to say to him,
\nit’s instinctive
\nI don’t think, my head frames, sees,
\neverything is so fragile, fleeting, as if the heart were in the eyes,
\nthe moment is that wave that comes over the rocks and marries all the details,
\nthe words are cordial,
\nburning desire,
\ntwo months that our words travel the oceans,
\nthey have become more than narrow,
\nthey are no longer enough.
\nSydney was too far…<\/p>\n

mages of an emerging intimate dialogue.<\/p>\n

(\u2026) The seasons are diluted in the years,
\ntime is punctuated by breakaways, my films follow the passing of the days,
\nthe images become more intense, freer, the camera is invisible, this visual dialogue belongs to us, a complicity between us,
\nwith the certainty that it emanates a vision beyond photography,
\nan expression of the senses and of art that makes
\nthis immutable daily life.
\n(\u2026)
\nVanished love.
\nThe silence.
\nImages live. \u00bb<\/p>\n

The full text is available in the book
\nSilence sketch published by the (M)<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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