ALIZÉ LE MAOULT

Alizé Le Maoult, born in Paris, unveils a new series for this exhibition. Between film noir and a portrait of Paris, Alizé offers us, through her images, a stroll through iconic places of the capital where mysterious characters, taken from a movie of the 1940s, the golden age of film noir, wander through the deserted city. Her photographs, always very graphic, in which we detect a great sense of
framing and her cinematic DNA, immerse us in a universe between dream and reality, a suspended and timeless time. Like a piece of film, this series is a tribute to the "ville lumière" (in troubled times that will remain in our memories).

“Purity and visual efficiency of the composition, theatricality that flirts with the surrealism of a Paris deserted by confinement, shimmering historical and aesthetic references, are some of the salient features of the series “Black-Out sur la ville” for which Alizé Le Maoult has made the capital her openair studio. This body of images that seems to come from scenes of fiction, is an act of resilience, an ode to resistance through art born from the imperative need to invent ways of dealing with house
arrest, with everything that constrains.” Jean-Luc Soret.

From a young age, Alizé has been immersed in photography. Her passion was born with her father, a "talented amateur photographer," who transformed the family bathroom into a photo lab. Initially a favorite role model for his father, it was the cinema that enlisted her, at a very young age, to take her first steps in front of the camera.
After studying film in New York, Alizé collaborated with renowned directors such as Walter Salles, Manuel Pradal, Jorge Navas, and Elia Suleiman for the film "Divine Intervention" (Jury Prize at Cannes in 2002).

The year 1995 was a pivotal year. Cinema took her to the war in Sarajevo for the shooting of Ademir Kenovic's film "The Perfect Circle." This intense professional and emotional experience would later inspire the first installment of the series of portraits of war photographers, "What Their Eyes Saw / Generation Sarajevo...". Alizé extended this unique project to other war photographers and new generations.
Her photographic work relentlessly accompanies her cinematic trajectory around the world, detaching herself from it, and attempting to extract through photography the beauty and poetry that surrounds us. Human beings, the city, and nature are her recurring and borderless fields of exploration. From portraiture to abstraction, her visual universes are told in series: Reconciliation I & II (with Romain Léna), Pink Shanghai, Cuba Blues, White Washington, Serenity, Vibrations, Nights illuminated, Open skies (Clouds, Geometry of the sky, Flying away, My Observatory). Her cinematic legacy delivers a photographic writing often in sequences.

Between solo and group exhibitions, Alizé Le Maoult has exhibited the series "Sable végétal" in Paris alongside Yann Arthus-Bertrand, was featured in Beirut in the "Revealing Talents" section of the Beirut Art Fair with the series "Nuits lumineuses" (Illuminated Nights), and has exhibited in Sarajevo, Caen, Meaux, Verdun, and at the Couvent des Minimes in Perpignan for her portrait work on war
photographers, in galleries and fairs, as well as in museums and institutions. Her photographic work is part of private collections as the highly respected Florence and Damien Bachelot Collection, as well as the EURAZEO photography collection, after being a finalist for the EURAZEO Prize in 2021.