Patrick Tosani was one of the seminal figures marking the development in France of fine-art photography between 1980 and 2000. An architect by training, he called for the use of the “most objective means that photography can provide: precision, frontal framing, sharpness of focus, colour, enlargement,”but also scale and depth, in order to question what is specific to the medium of photography. Known for photo series like Glaçons, Portraits, Talons,Cuillèr [...]
Patrick Tosani was one of the seminal figures marking the development in France of fine-art photography between 1980 and 2000. An architect by training, he called for the use of the “most objective means that photography can provide: precision, frontal framing, sharpness of focus, colour, enlargement,”but also scale and depth, in order to question what is specific to the medium of photography. Known for photo series like Glaçons, Portraits, Talons,Cuillères, and Masques, he continued with the well-received Architecture et photographieand began in 2015 his latest, Planètes, from which the photo featured in OSMOSCOSMOS comes. Undercutting yet again the notion of scale, as in Talonsor Architecture et photographie, Tosani constructs models of unknown planets and plays with lighting to challenge any and all probability of a different entity existing in the cosmos.