I met Bruno Aveillan, the photographer, about ten years ago. It was during an aperitif at the home of Jean-Baptiste Danet, my best friend, who passed away a few days ago. I say Bruno the photographer because his primary profession, his international fame, he owes to his career as a film director.
A Peugeot breaking through the sea, creating feline waves, that’s him, an Indian palace rising from the ground for Natalia Vodianova, that’s him too, commissioned by Guerlain. Bruno Aveillan directed a panther leaving Place Vendôme and crossing a fantastic world in a 3.5‑minute advertising clip for Cartier. At the time, this film, the most expensive in history, was revealed in prime time on TF1 on a Sunday evening, between the news and the big weekly film.
Then there was the sublime Arte documentary on Rodin’s centenary (“Les Portes de l’Enfer”), a masterly creation by this ultra-talented director, the most gifted of his generation. The sculptor’s entire life in Bruno’s eye, a narrative and technical feat. Try to find it! A few years ago, Bruno told me, “I’m regularly approached by Hollywood producers to direct feature films, but a Hollywood film is two years of your life, and I can’t stay away from my clients for that long.” His films allow him to travel the world and offer him wonders to photograph. His second passion is photography, which he treats with the same poetry and technical skill as his films.
His photographic work is all about suggestion, imagination and artistic blur, allowing you to travel through an image that takes you to the other side of the world or your imagination, in a most engaging aesthetic.
In the “Vu de ma Fenêtre” exhibition, we’re showing a few images from these journeys, as well as two completely new series, “At the Edge of the Green Void” and “Complex Fluidity”. The former is a photographic investigation of flora, while the latter explores the complexities of water. Splendid and environmental.
Arnaud Adida Director