A very chic black box with an arrow and a name: Olivier Garros. Inside: 2 books, one color, the other black and white. It is the latter that we present to you today with this text by Guy Mandéry!
Olivier Garros, framer
Here everything is only order, framing, and rigor of composition. In the photographs as in the home furnished in a minimalist way. Yet Olivier is a man with high energy, lively sensitivity, fueled by a three hundred and sixty degree gaze on the world, men and women. Physically, it is the slender Britt of the Seven Mercenaries played by James Coburn.
Garros’ blade is obviously his Leica, and he uses the adjusted line of sight of his viewfinder as a scalpel. It’s hard to imagine a reporter so concerned with lines, shapes, surfaces and the thousand jugglings that the two-dimensional and black-and-white crushing of our colorful three-dimensional world allows. However, the human, the social even, are not obscured, as evidenced by his work on demonstrations in general and those of 1995 in particular. He is also a portrait painter who knows how to obtain from his models, especially female models, a presence of moving and stirring intensity.
Garros also shone in a little-practiced photographic exercise: literary illustration. With Théophile Gautier’s Voyage in Spain and Michel Déon’s Le rendez-vous de Patmos, he gave two very successful examples of a genre too rarely dared by literary publishers these days.
Reporter, studio photographer, cinema operator with several films to his credit, videographer, Olivier is an understated man who does not push himself forward. Completely absent from the mundanities of the photographic sphere, he traces his line away. It is straight.
Olivier Garros – Photographies
20,8 cm × 24,3 cm × 3,5 cm