本质
从早期的工业建筑摄影到现在的抽象摄影，伊莎贝拉·吉罗雷特在物质与光之间的无穷无尽的对话中找到了自己的独特的语言风格。明亮的色彩，极简的构图，敏感的线条，通过构图、透视视角和远摄镜头，她的镜头完美捕捉了反映现实的“氛围”。极简纯净的线条和色彩塑造着新的关系，速度，氛围，空间和场域。抽象的画面唤起人的感官和无意识的想象。
她的作品无法辨识出被拍摄的对象，抽象构图剥夺了拍摄对象的真实样貌，在将现实转化成抽象的同时，将不可见变为可见。所有作品在拍摄之时就完成了，不会在后期制作中裁剪或重新构图，也不会更改或改变颜色，没有后期处理。在极少数情况下，只是“清除”城市家具上的杂物或斑点。很多画面还保留着自然的看似不完美的痕迹，这是她的坚持-如是。转化反映了真实的哪一部分？是易被忽略别具慧眼的角度还是原本就是存在的诗歌？摄影作品和拍摄对象之间的关系此时已经变得不重要，好的作品取决于它将会引领我们去什么地方。
她将带我们去哪？开放的门，无尽的宇宙，飞驰的子弹，黎明前的黑暗，拐角的森林，一片叶子的斑驳，深沉肃穆的宇宙幕布...某个下午，一片森林，天空，宇宙那端，纯净的未知之地，纯然的想象里，无限开阔和的辽远之地，源头...在无人之境里，新的空间静静等候着发现者，等待被发现，等待被唤起和唤起敏锐的他者。空灵赋予启示，洞见若隐若现。她的作品引发人们对事物的本质、人的存在本身、人和环境的关系、自然环境和宇宙的本质的思考-脱离了意志和意识，所有这一切都是自然自在，纯净饱满，充满欢快的鲜活生命力本身。
伊莎贝拉·吉罗雷特作品的独特之处是她提供给我们一种新的观看世界的方式，也为我们反观自身的存在提供一个新视角。没有标签，没有身外之物的限制，没有纷繁的外界声音，我们的本质不就是那抹纯净饱满，充满活力的简真存在吗？
Essence
From early industrial architectural photography to today's abstract photography, Isabelle has found its own unique language style in the endless dialogue between matter and light. Bright colors, minimalist composition, sensitive lines, and through composition, perspective and telephoto shoots, her photographs perfectly capture the "atmosphere" that reflects reality. Minimalism and purity of line and color shape new relationships, speed, atmosphere, space and field. Her abstract photographs evoke sensory and unconscious imagination.
Her works are already unable to identify the photographed objects. Abstract composition deprives the real appearance of the photographed objects.While transforming reality into abstraction, it turns invisible into visible. All works are completed at the time of shooting, no cropping or recomposition in post-production, no color changing or alteration, no post-processing. In rare cases, she just cleaned the scratches or spots on urban furniture. Some pictures still retain traces of natural seemingly imperfections, this is her insistence- so it is as it is. Which part of reality does the transformation reflect? Is it a unique angle that's easy to overlook, or is it a poem that exists in itself？The relationship between the photograph and the subject has become unimportant at this time. A good artwork depends on where it will lead us.
Where is she taking us? The open door, the endless universe, the speeding bullet, the darkness before dawn, the forest at the corner, the mottling of a leaf, the deep and solemn cosmic curtain... One afternoon, a forest, the sky, the end of the universe, the pure unknown, the pure imagination, the infinitely wide and remote space, the source... In the unmanned world, the new space quietly waits for the finders, waits to be discovered, waits to be aroused and waits to awaken the keen other. The ethereal gives revelation, and the insights looming. Her works arouse people's thinking about the essence of things, the existence of human beings itself, the relationship between people and the environment, the essence of the natural environment and the universe---(Without) Free from will and consciousness, all of these are natural, purevitality themselves.
The uniqueness of Isabelle's work is that she provides us with a new way of viewing the world. She also provides a new perspective for us to reflect on our own existence. Without labels, without the limitation of external things, without numerous complex external sounds, isn't our essence a pure vibrant simple existence?
The Urban Eye
By what miracle of look and thought, can the ordinary object, the everyday object, become an object of art? Who would suspect, behind a glass door, at the corner of a wall, on pavements trampled by thousands of crossings, that hides an artistic image, something that reveals both a personality and an age?
It is a concoction, a chemistry, that operates to obtain such a result. But it is inexplicable. We can reflect on the case, build hypotheses, theories, psychological, sociological, artistic, we can do everything, say everything, think everything, but nothing, ever, will really explain the fact. Now it is this irreducible, implacable fact that Isabelle Girollet shows us today in all its plenitude. How!? This little woman, sparkling, joyous, mischievous, and so naive at the same time, to perform such a miracle on a reality as banal as the modern architecture in its most flat details! It’s unimaginable, we will say. Well no! It is precisely this personality, so spontaneous, never cluttered with dusty academic knowledge, always on the other hand open to a changing world, always in agreement with it like she agrees with herself, which offers us these astonishing images, so renewed in their visions and their conceptions. Because Isabelle Girollet had accustomed us to photographs certainly extracted from large contemporary architectural ensembles, often industrial, but she never had gone so far in the renovation. To the point that we hardly recognize her way. Everything was clear, crisp, cold, sometimes freezing, although still very colorful, and everything becomes blurred, punctuated, moving, lively even, almost jerky sometimes. And even more than before, we are in significant detail, revealing an idea. It is almost tiny that explodes in abstract image. A lock, a corner of glass, and we have a composition. How to understand this?
There is almost only the color, so revealing of her, that reminds us of the first vision of Isabelle. Oh! certainly, everything is built as before, perfectly balanced, but it moves now, it slips, it jumps, it glows, sometimes quickly, it shines so it reflects a moving light. It’s the discovery of the notion of time in the image. That’s probably what Isabelle Girollet wanted, to make live her photographs, take the spectator with them, lead them in space-time. Make no mistake, this is only a step, a step that reminds us as well Lucio Fontana as Pierre Soulages, and it’s a safe bet that she will go further in the abstraction not lyrical, but spatialist, in this search for movement and time in the closed and frozen space of the image, where forms, lines, colors complement each other and play together to energize the surface, to make it even move and extract it from its own straitjacket. There is some intellectual who does not know, because all this, with Isabelle Girollet, is done in the greatest simplicity and the greatest candor. However, something does not deceive. She confided to me some time ago that she came home exhausted by a day's work. She had indeed walked, photographed, but above all she had immersed whole herself in her reflection, looking for something, this something that is her prints, which are her thought, herself given entirely to her shots, to the point of getting confused with them.
There is no mystery, any image of photographic art is more than just a shooting. From that, it would be almost mockery, if there was in the background a true personality of an artist, that Isabelle Girollet possesses at the highest point.
Jeremy Benoit
General Curator at the Palace of Versailles in charge of the Trianons
The abstract photography
Abstract photography always draws its source from the world around us. The photographer is the one who knows how to see what we do not see.
His palette is the world; his brushes, the light.
He does not steal images: he creates them, by his patience to wait for the favorable moment for the shooting, by his knowledge to see, but also his know-how. So, he makes an image that belongs only to him, but that addresses the imagination of everyone. Thus created, the photographs are offered to us in their mystery and their formal beauty, as poetic or musical dreams … place to abstract compositions, which take away their real meaning to give them a poetic dimension.
In the same way, by surprising framing, the scale ratio, linked to the recognition of the object, disappears. By seeking to recognize, to identify, we then take to imagine, to dream. The metaphors that will be used to describe these images will be those of painting, drawing, and calligraphy as well. But it is a question here of photography, and of the freedom it has taken in its relation to reality. The question that faces these images should no longer be “What is it?”, which refers to the object represented by the photograph. But “What do I see?” which stops at the very surface of the paper, without seeking to pierce beyond it. It is in this very space, between the subject represented and the image that emerges from it, that the freedom of the photographer, like that of the spectator, is exercised. In this fragile and imprecise limited space, with shifting boundaries, lies poetry.
In the aftermath of the Second World War, photography becomes the preferred mean of disseminating information. It testified to all the horrors of the war and the photo-reportage gained its nobility. The Magnum photographic agency was founded in 1949. But others, especially in the United States, think that photography can express something else, that it can speak to us differently at the very moment when Jackson Pollock and Rothko shake the straightjacket of figurative painting.
These photographers find their language in the inexhaustible dialogue between matter and light, which is the essence of their art.
French National Library