Jerome Marot

[Jerome Marot]

I joined OPF in 2011. At the time, I was looking for the place to discuss the aesthetics of photography with like-minded people. The Internet is replete with forums with discussions about cameras, but a camera is only a machine and a machine can only do so much. It is when the camera becomes less important than photography is interesting.

With OPF, I think I found such a place. The members here do not always agree on everything and may even discuss cameras occasionally, but make no mistake: each and every one of them has his (or her!) own ideas on how a photograph shall be. Even the ones who sometimes profess otherwise.

If you read this, you are probably interested in our exhibition at PhotoIndependent. Only a few of us exhibited there, either by personal choice, lack of time or lack of inclination. Please have a look at the other members’ works if you can.

As to myself, I am supposed to write an artist statement here. I prefer to let the pictures talk for themselves.

 

[Jerome Marot]

Maneges

The first series of pictures presents fancy fair attractions taken at the Oktoberfest (Munich). The Oktoberfest is packed at night, but what happens when the places where people gather to be merry are devoid of people? What happens before and after the party? What happens at places of entertainment when no-one is there to be entertained?

Manege 1
Pigment giclée on acid-free baryta paper
20" x 28"
Series of 29

Manege 2
Pigment giclée on acid-free baryta paper
20" x 28"
Series of 29

Manege 3
Pigment giclée on acid-free baryta paper
20" x 28"
Series of 29

Manege 4
Pigment giclée on acid-free baryta paper
20" x 28"
Series of 29

​

 

[Jerome Marot]

Persistance des lignes

The second series of pictures were taken at night and uses blur and black and white processing to transcribe the impressions I had when caught by darkness in a remote place.

Seul dans la nuit
Pigment giclée on acid-free baryta paper
20" x 28"
Series of 29

Persistance des lignes
Pigment giclée on acid-free baryta paper
20" x 28"
Series of 29

Persistance des lignes 2
Pigment giclée on acid-free baryta paper
20" x 28"
Series of 29

Persistance des lignes 3
Pigment giclée on acid-free baryta paper
20" x 28"
Series of 29


("Persistance des lignes" is intended as a tryptic, but only the first image is presented at PhotoIndependent)
​

 

[Jerome Marot]

Private places

Between 1936 and 1938 a complex of barracks were built on a 24 hectares piece of land in the north of Munich. From 1993 onwards, the army left the place. Between 1993 and 2008, the place was hosting the largest artist colony in western Europe, about 250 Ateliers. After 2008, the inhabitants were slowly driven out and the house torn down to leave place to new housing complexes. For a few months, the half-demolished houses were left open for anyone to enter. What had been appropriated as private living spaces was now public but it would not be long before it would disappear into oblivion.

Wall
Pigment giclée on acid-free baryta paper
20" x 28"
Series of 29

Paint
Pigment giclée on acid-free baryta paper
20" x 28"
Series of 29

The door into summer.
Pigment giclée on acid-free baryta paper
20" x 28"
Series of 29

Unknown bicycle
Pigment giclée on acid-free baryta paper
20" x 28"
Series of 29

Blue room
Pigment giclée on acid-free baryta paper
20" x 28"
Series of 29

​

These pictures are not directly exhibited at PhotoIndependent but are available from the special bin.

 

[Asher Kelman]

Jerome,

Yes, I did think of these but couldn’t remember the link!

Jeröme Marot: Seul dans la nuit
Pigment giclée on acid-free baryta paper
20" x 28"
Series of 29

Jeröme Marot: “Persistance Des Lignes”
Pigment giclée on acid-free baryta paper
20" x 28"
Series of 29

Jeröme Marot: “Persistance Des Lignes 2”
Pigment giclée on acid-free baryta paper
20" x 28"
Series of 29

Jeröme Marot: “Persistance Des Lignes 3”
Pigment giclée on acid-free baryta paper
20" x 28"
Series of 29​

These are wonderful and likely established in my mind an avid appetite for such creative work in images that attempts to recreate more than the static image: a feeling of “trembling presence” perhaps!

Asher

 

[Asher Kelman]

It’s a wonderful revival to look through this thread again.

Shown here, are night views and also the fingerprints of generations who lived, laughed and loved inside painted walls that are now gone!

Asher

 

[Maggie Terlecki]

Thank you Asher for reviving this. Nice to re-read Jerome's words and to see those photos again. Especially the "Unknown Bicycle" which I just loved and see that I still do.

 

[Asher Kelman]

I am hoping that my connection with the Art Museum of the City of Long Beach might allow me to curate a new OPF show.

So far, community reaction is so positive. Folk stop to take selfies and group shots, so the work is becoming iconic for Long Beach.

These photographs are the level that would be required for a new OPF exhibit. Any works previously shown can be resized. We need to know about sizes.

I think I should prepare new sculptures to broaden the interest too!

I just need to catch up on paying the bills and then making a proposal.

Asher