Saleve 01 2012
Saleve 02 2012
Berlin 01 2012
Berlin 02 2012
Campagne 01 2012
Campagne 02 2012
Genève 01 2012
Lyon 02 2012
Madagascar 01 2012
Madagascar 02 2012
Madagascar 03 2012
Paris 01 2012
Paris 02 2012
Annemasse 2012
Antidaté-29
Antidaté-30
Antidaté-33
Antidaté-39
Antidaté-013
Antidaté-11
 
 


Camille Marie Bieber was born in France in 1989 to a Madagascan mother and a French father. She took up photography at the age of 15, at first to capture her memories, then to examine themes of intimacy and introspection. She graduated with a degree in photography from the Ecole de Condé in 2010 and took part in a joint exhibition in 2012 in Lyon.
Camille Marie Bieber looks regularly to the past: past, future and the superposition of time are key areas of her work.
In the "Interstella" series that she began in early 2012, she invites us into an imaginary yet stunningly-realistic world, inspired by her attraction to English sci-fi and her fascination for the unknown and what happens elsewhere. Combining digital photography and photo-montages of planets and nebulas that she herself creates, unreal landscapes rub shoulders with our daily life, in a lunar atmosphere that encourages us to reflect on our existence and the possibility of life elsewhere.
Other than this work, Camille Marie Bieber only takes photographs using silver film. She likes being able to touch things, like holding negatives and loading films, and now brings us "Antidaté", a series of photographs that seem to come from another time. "I think it fits in with my obsession with looking to the past, thinking about when I'll look at the photo and remember when I took it - my state of mind and my life at that moment in time. And then I like testing old films, pushing them to the limit, and I'd like to extend this approach even further, by getting my hands on other old cameras and recovering lost films, which I've been dreaming of for months".
With this "Antidaté" series, Camille Marie Bieber offers us a date with time, with our past or with our own future; no matter the cameras and films, no matter the subjects she photographs, she superposes eras by prematurely ageing a place, a model or a scene from modern life just by using out-of-date film. To accelerate time, to challenge it, to tell us today what tomorrow will bring, and plunge the 1950s into the 2050s or 2150s...

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