Divided by Two: Chimeras in William Farges’ Project
“Chimeras” first appeared at the Festival of Nude Photography this year and made William Farges famous. It was an overture to the “White Lines” project — his next step towards the edge of photography art. Farges told Bird In Flight how his own body brought him to “Chimeras”, what’s the catch behind the “White Lines” and why Mongolia drove him to give up photojournalism.
I came up with “Chimeras” while playing with the frames to create different body-shapes. I was inspired by classical artists – Ingres, Manet and Renoir. But my imitations appeared to be too canonic – I cut the body of my models with the frame, and photography limits became a strong element, I was looking for a different contexture. It didn’t work, each time photographs turned out to be unbalanced.
Eventually, two photographs accidentally appeared on the screen of the Lightroom. The combination wasn’t perfect, but with the help of it I understood what sort of effect can be reached.
“Chimeras” were my first project I was working on during 6 long months. I started by creating décor, made hundreds of photos of many models… In the end I selected the most interesting photographs and re-shot them with two models, so that to correct the light and framing. Light is one of the most important things for the image – I understand this at every shot.
This is how I end up with the concept of “White Lines”.
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While working I never think about what I would like to express. At every moment I just try to do something new, not caring about symbols and leaving them for my intuition. Symbols are children of intuition.
Over time I developed a better understanding of chimeras and motions. I work with other people and bodies, because I don’t love my own. I am trying to say: “Look, the body is nothing but a perception, look, I can play with yours. You think it’s ugly and strange, but it’s just your perception.” And here lies the importance of the white lines – with their help I prove that I didn’t do anything to bring two different images together.
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My films are an entirely different matter. I just love playing with media. Films without motion become really photographical and create fictional spaces. Moviemaking sets me free.
I began doing photography when I was 16. I only had an old Rolleiflex, a diploma and no experience. I was looking for my place in the world. I decided to go to Mongolia and started doing photojournalism. To be honest, I wasn’t ready to see what I saw: it is a far cry between imagining misery and seeing it firsthand. It shocked me: I was working during a whole year to afford this trip, but racism, lack of communication and my own timidity were no good. Against all odds it was a great, valuable experience for me. After returning to France I did not publish any of my works from Mongolia, so all this was for nothing.
Sad to say, but for me the real social photojournalism is dead. You only can succeed if you can do nothing, but photojournalism.
I wasn’t made for this, I prefer working in the studio, looking for the limits of the body. Anyway, I still encourage everybody to see the other side of life – it might be the only way to realize what does it mean to be born in a rich country with medicine, education and ability to choose and to become what your want.
In October I’ll start a new project, bigger than “Chimeras,” using a large format of analogue photography. I have managed to find a sponsorship for the project, so it will be much easier for me. You never know what exactly will draw your attention and turn to a concept. I will definitely continue my monologue about the connection between photography and painting by means of nude body.
New and best
