Bio
Since her beginnings as a self-taught photographer, Mélanie Challe retains a freshness of vision, a sense of experimentation and an uninhibited attitude towards the diversity of the subjects she tackles. She also remains committed to the decompartmentalization of practices, as evidenced by her collaborations in the field of video productions and web documentaries.
While there are many bridges between the different media used by the artist, her photographs reveal more of the intimate nature of her relationship with each of the subjects she tackles. Whether it's commissioned work or personal projects, we always notice Mélanie Challe's attachment to contact, to exchange. Starting from an encounter – with an object, a person, a landscape – he always tries to cultivate a closer and more authentic relationship, which leads to a true relationship. The enveloping and benevolent gaze with which he accompanies his observations spreads to the viewer, in whom he often manages to arouse a feeling of empathy.
Although the topics covered are very varied, particular attention is always paid to the question of depth of field, or on the contrary, its absence. Thus, from one series to the next, a game is established between the affirmation of the flatness of the support and the work on perspectives, like a back and forth between the second and third dimensions. This dialogue is supported by the very graphic, even pictorial, aspect of the images (D'ombres et de lumière, Chemin de vie). Light treatment plays an important role in this plasticity, especially diffuse backlighting or sometimes very strong contrasts. His framing, sometimes tight or unexpected, is also a way to foster a perception that goes against stereotypes: for the artist it is a matter of changing the way of learning about a particular person, an object, a particular subject (The Beijing Ballet, The Grace of Gesture).
Playing on discrepancies to question what is generally accepted is part of the photographer's engaged attitude. It is a profound commitment, expressed in a widespread and subtle way: it is perceived as a time that marks all his work. The artist embraces the world and transmits it to the viewer according to his own vision: with curiosity, with benevolent tenderness and without preconceptions.
This sweet greed for the other and for what surrounds him is also an opportunity to look back. Exuding a singular temporality – slow and quiet – Mélanie Challe's images favor introspection and ontological research, or simply daydreaming.