Laurent Elie Badessi (born November 27, 1964 in Avignon, France) is a French photographer and artist based in New York City.
Badessi frequently uses symbolism, mythology, and historical and cultural references in his work.
The study of trust that develops between the photographer and the sitter and the exploration of the power of the photographic medium on people, are both fundamental vectors in his artistic quest.
His photographs often addresses subtle and relevant questions on social, political and cultural issues, such as the relationship with nudity, religion, the environment, war or the fragility of life. His works are mainly sketches that avoid unnecessary detail.
He is a fourth-generation photographer.
Table of Contents
- 1 Early life
- 2 Career
- 2.1 The unavoidable temporality of existence
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Early life
Badessi the son of French photographer Elie Badessi and Catalan Maria Louisa Rovira Font was raised in France.
Badessi was first avid in painting and filmmaking, but at the age of fifteen, he chose photography as his chief form of artistic expression. While studying language and communication sciences with a focus upon journalism and advertising at the Université des Lettres in Avignon, he experimented bearing in mind photography. He spent hours taking photos of people and soon, started to play up his bill by winning prestigious photography contests such as the Guy Laroche Drakkar Prize.
Before disturbing to Paris, Badessi’s first noteworthy photograph was published in Paris’s Vogue Hommes magazine. The black-and-white portrait was exhibited as share of the Condé Nast retrospective at the Centre Photographique et d’Audiovisuel de la Ville de Paris (1986), along later than photographs by Irving Penn, Bruce Weber, Helmut Newton, Guy Bourdin, and Annie Leibovitz that had been taken throughout the years for the company’s various prestigious titles.
Career
To expend his career, Badessi moved to the United States in the prematurely 1990s. Dividing his grow old between poster and personal work, he began focusing on artistic nudes, which he had already experimented with during his beforehand stages at the rear the camera. Since nude put-on requires the deepest degree of trust along with the photographer and the sitter, he felt that this phase was critical to additional evaluate the psychological impact of photography upon people. In complement to his primary focus, Badessi was also curious in the membership that builds amongst the photographer and the model during a nude photo-session.
Badessi has always been spiritually near to nature. Before the organic products trend, he was capably aware that we should glorification our mood because we are part of it. He believes that whatever we do horribly to flora and fauna will come back to us at some point. In amid assignments and as soon as this philosophy in mind, Badessi dedicated ten years taking nudes in dramatic landscapes, showing how close we are to nature. In 2000, the prestigious Swiss publishing company Edition Stemmle, released his first book, SKIN, which featured a foreword written by Sondra Gilman, Founder and Chairperson of the photography committee at the Whitney Museum in New York. A few solo shows presenting some of this behave had since taken place in Paris, but in the years to follow the publication of the book, more exhibitions opened in the United States and abroad. At the similar time, his photographs became portion of numerous important collections and he expected several prestigious awards and grants.
During this transitional phase of his career, Badessi contracted to focus upon the Good art aspects of photography and on your own accepted trailer assignments that would allow him total control exceeding the images. The disturb he produced for Charles Jourdan (2004) is the perfect example of Badessi’s want to create and nurture an image from its concept to its perfect phase. The endowment of the Charles Jourdan project was a great challenge, because for two decades, Guy Bourdin had generated a large amount of astonishing photographs for the brand that have become iconic images. To bring his own vision, Badessi played afterward eroticism and mythological symbolism, creating memorable visuals that are in the long-lasting collection of le Musée de la Publicité – Les Arts Décoratifs in Paris. That similar year, one of the photographs “The Abduction of Ganymede 1” made the headlines for an article in the New York Times.
Focusing on his artistic activities considerably boosted Badessi’s want to get closer and closer to total artistic freedom. Being politically correct—which was a key factor during consequently many years of practicing for important brands—was no longer an issue, and he could now translate what he would observe in this world into images without restraint.
Following that philosophy, Badessi created “American Dream, This is not a dream” (2006) a series of portraits based upon the propagandist campaigns elaborated in the United States to attract supplementary recruits during the Iraq War. The project was respected abroad and widely collected, but seen as too controversial in the States at the become old because of the tense connection between many military families and the Government, as a result, the series was not widely exhibited in the States. “American Dream, This is not a dream” was later selected for the prestigious Arte Laguna Prize and shown at the Venetian Arsenal (2011).
Badessi—who had mainly taken photographs of people during his career—decided to work upon a extra series called “The unavoidable temporality of existence”, that would not feature people. For this series he set a point toward to use reasonably priced material to produce images that addressed some laws of physics. Specifically, he focused on laws relative to light, such as the phenomenon of the late addition of color onto a surface. Relying on the deed to put under time—an important characteristic of the photography medium—Badessi produced weightless sculptures made of aluminum sheets, which appeared sturdy like photographed. These compositions, which recall the fake of artists such as John Chamberlain or César Baldaccini, introduced the notions of chaos, balance, and duality between the fragile and the strong. This play a role was a quirk for him to spend era in the studio, experimenting in the same way as the fundamental properties of the medium, like he did for hours as an adolescent.
This was along with a grow old for him to reflect on the memories of his risk-taking childhood chasing butterflies in the beautiful landscapes of Provence. This time, as an adult, Badessi’s aim was to use the butterfly as a determined and figurative element to retrieve a enormous topic: The temporality of everything things in life. The project that Badessi has been working upon in bank account to this theme is titled “Innocence”. This series has been in production previously 2009.
Badessi’s newest project, “Confessions”, is due to be released in 2014.
Last update 2021-08-06