Gaston Bertin's colorful abstractions are the result of shooting hand-made paper collages and a focus that has been blurred so as to erase the surface and materiality of the thing photographed. As New York critic Vince Aletti wrote in The Village Voice: "There is something both retro and futuristic about them, as if fallen from the wall of a science fiction comedy set of the '60s".
Gaston Bertin's photographs do not transform reality into images, but transform images into reality.
The latest works by Gaston Bertin are photos-sculptures, assemblages of images that try to connect with each other but whose appearance remains staggered ... attempts of voluntary failures
For many years Gaston Bertin printed himself his 35mm negatives. Currently he uses a digital camera but he continues to make his prints on silver based paper. From a file, the paper is exposed to the red, green and blue beams of a digital enlarger, the photosensitive paper is then, developed, washed and dried. The most widely used enlarger is the Durst Lambda hence the name "Lambda print".
Bertin then mounts his prints on boards of "Formica", which are themselves laminated on plywood modules.
Gaston Bertin explains his work in these terms:
Photography is a false truth that decontextualizes its subjects: By looking at a photograph, the viewer may feel that he is seeing a tangible reality, but the circumstances in which the photograph was taken remain unknown. The more a picture appears real, the more one should become suspicious of its veracity. A photograph which attempt is not to depict an existing reality will divert this ambiguity. Truth is subjective, when there is no intention of truth, the unknown can be revealed ... and Art becomes a reality that is uncomfortable, ambiguous... special...beautiful...
Gaston Bertin was born in France, grew up in Spain and studied in the United States. He received his Bachelor of Fine Art in Photography from the Parsons School of Design in New York, and then undertook a Master's degree in Landscape Architecture at the Rhode Island School of Design as well as Studies in Industrial Design at the Istituto Europeo di Design In Milan, Italy. He exhibits his work internationally.
He exhibited in November 2016 at Kustera Projects, Brooklyn, New York, in June 2017 at Galerie Numaga, Colombier, Neuchâtel, Switzerland.
He participated in the contemporary Art Fairs: Arco, FIAC, Art Basel, Art Basel Miami, and Art Brussels with Gallery 1900*2000; and Paris Photo with the Galerie 1900*2000 and the Galerie Françoise Paviot.
His work is represented by Galerie 1900*2000 (Paris, France), Galerie Clémence Boisanté (Montpellier, France), Aeroplastics Contemporary (Brussels, Belgium), Barbado Gallery (Lisbon, Portugal).
- Reviews: L'Oeil, Étapes (cover), AD, Leica Fotografy International, PhotoTechnic, Harper's Bazaar, Artes, Arts & Antiques, AroundPhotography, Curator, The British Journal of Photography.
- Books: A non-objective world in photography (flights 1 and 2), Thessa Herold Gallery, 2003 and 2006; Why It Does Not Have To Be In Focus, Thames & Hudson, 2013.
Collections: Daimler Art Foundation, Swedish Arts Council, Museum of Art of the University of Colorado, Museum of Art of Sabadell (Barcelona), French Institute of Barcelona.