Galerie Belladone.
Photography and drinks.
17 rue Moris. 1060 Brussels.
Three Goblin Art

Janaina Medeiros
Xuebing Du
No title available
trying on a metaphor
let's talk about Bridgerton tea, my ask is open
h
No title available
he wasn't even looking at me and he found me

if i look back, i am lost
ojovivo
Sade Olutola

blake kathryn
Stranger Things
d e v o n
occasionally subtle
we're not kids anymore.
Acquired Stardust
Cosmic Funnies

⁂
seen from United States

seen from United States
seen from Spain
seen from United States
seen from Netherlands

seen from United States
seen from Türkiye
seen from Netherlands
seen from United States

seen from United Kingdom
seen from United States
seen from Australia
seen from Türkiye

seen from United Kingdom
seen from Malaysia

seen from Singapore

seen from United Kingdom
seen from Türkiye
seen from United States

seen from United States
@twennys
Galerie Belladone.
Photography and drinks.
17 rue Moris. 1060 Brussels.
website • sylvainbiard.photo
website • sylvainbiard.photo
website • sylvain Biard
website • sylvainbiard.photo
2021 • www.twennys.com
Paris • 2014
website : www.twennys.com
• 2021
• 2021
SHiMA • 2016
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www.twennys.com
Les Dominants • 2014
www.twennys.com
website • www.twennys.com
• 2013
www.twennys.com
From Myself On A Bookshelf • 2022
www.twennys.com/
Photography is schizophrenic. It is a visual field haunted by a visual field. The first, produced by the photographer, is a two-dimension rectangle : Myself as window or mirror, myself as fragments of me, myself as posts and likes, myself as paper, myself on a bookshelf, myself secluded in my own images, myself under the visual mass of the world. Myself inside a cycle. The second field is from the viewer, who does not know what to do with his gaze. Ask him and he won't know if he's observing or wondering what to observe. So what to do? Make the gaze a reading, an analysis, a description, a dissection, a fall? We find ourselves facing a wall, facing the flat area. Since we have no choice but to spend our whole life looking, we should contemplate it all. This is now what remains for the viewer, the enjoyment of the images materiality. On its side, the photographer is left with the photographic expression in the tearing down of the referent and the power of his offering, in the loose flesh of wobbly images.
Paris • 2022
website • www.twennys.com
website • www.twennys.com