Porchet, who graduated from the consistently fantastic Swiss art school ECAL, began documenting Baroque churches a couple of years ago – initially concentrating on their exuberant altars before moving on to documenting their ceilings.
In his words:
“I selected these spaces for their architectural ornamentation, as well as for the paintings coating the ceiling.
I photographed these spaces in order to produce an effect of visual fusion between architecture and painting where the saturated opulence of baroque contribute to induce the loss of our own references. The pictures were realized in black and white to reinforce the confusion between the ceiling and what surrounds it. The ceiling is in fact only part of the picture, the rest being the walls with their columns, the windows and sometimes also the organ. The optical effect brings architecture to the same level as painting and vice versa.
This series directly comes within the continuity of the “seduction” series and thus has the same goal, which is to show in an analytical way the exuberance and the excess of baroque as a critical allegory of the dramatic character of our current society. With here a stress on the relationship between architecture and painting, which underlines the idea that the world is in fact in a permanent performance, that the desires are canalized in pictures and reality is therefore falsified. The false looks true and the true looks false.”
Via Cyril Porchet