Nancy. Cyril Ruchet and Mouloud Ouabdesselam create a dialogue between words and photos gleaned at the level of the asphalt

For her, it is her shawl that leaves in volutes in the movement; for him, it is a plastic sheet that gives impetus to the winds. She has a haughty pose, and a decided forehead. He has his head down, focused on the play of his feet. The woman and the child do not belong to the same frame, but they both dance. They dance in black and white, in the magic of the moment.

An eye has passed, has captured the moment, and now in the photos of Cyril Ruchet, for us also dance the woman and the child.

Cyril Ruchet is a street gleaner. From those who pick and collect what chance has to offer them. But the Nancy photographer gleans scenes from life, like Henri-Cartier Bresson before him.

Is the comparison daring? We owe it to his accomplice Mouloud Ouabdesselam, and we are indeed tempted to agree with him. He has the eye, the surveyor of the streets of the world. The one who retains the tenderness of a character, the fleeting emotion, the warmth of a meeting, the one who also highlights the absurd collisions of urban geometry, everything that tears the everyday from its insipid banality to give it roughness, relief sometimes funny and intensify humanity.

Freedom, freedom regained!

But one day, the photographer Cyril Ruchet met the author and composer Mouloud Ouabdesselam. Dialogue was immediately made possible, between the words of one and the photos of the other. They echoed each other, and the idea of ​​an exhibition emerged. That is to say about twenty images and ten texts gathered under the title “Asphalt Rhythms”.

“Some texts were composed on the basis of clichés, and sometimes vice versa”, details Mouloud. “Cyril’s photos have a strong evocative power, and provided me with the material for stories. This dancer, for example, no matter where she was, suggested to me the story of this shackled woman, perhaps condemned, to whom dancing alone could give back the feeling of freedom. “

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And when it comes to talking about freedom, Mouloud uses it more generously than ever. “While I usually impose on myself a very calibrated verse writing for my songs, this time I let the beat of the writing follow its rhythm freely, free from the number of feet, to better enter into phase. with the pulsations specific to the photo. “

This duo exhibition is launched within the walls of the university library where it will be visible until March 23. But the dialogue seems so fruitful that the two artists intend to enrich it further, and to circulate it. Under the Asphalt it seems, there are still many beaches, words and images to cultivate!

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