“Landscapes, people, a sensitive black and white, without effect, vibrating with subtle greys, the feeling that spaces are inhabited, that they contain memories, traces, that man, without it being obvious, has shaped and inhabited them, this is what we feel in Vanessa Winship’s so particular approach. As usual, she doesn’t describe, she doesn’t testify to anything other than what she feels, she doesn’t try to demonstrate anything but wants to share with us the emotions that assail her when she lets herself go in the measure of the space she crosses.
“Nothing excessive, a lot of restraint, perhaps even a little sadness, or at the very least melancholy, in this discovery ballad that always finds the right distance to things, to signs to people who are gently crossed and tamed. An attentive, generous look, served by precise and never forced framing, which breathes as if carried by the wind that accompanied the photographer towards the flexibility of the grasses, the textures of the walls, the beaches, the vegetation or the ripples that trap the gray light. In search, in fact, of what discreetly keeps track of a time when we lived here of fishing, wine, salt.
The woman who was – and still is – the only woman to have received the Henri Cartier-Bresson Foundation grant has naturally found her rhythm in the marine settings of the city and its surroundings. It is indeed the first time that the residence has opened up to the contours of the Thau Lagoon and the lagoon. The result of the carte blanche is, as every year, the subject of a book, the twelfth of the collection ” ImageSingulières ” published by Le Bec en l’air .”
Christian Caujolle – Extract from the book Sète #19