Denis Vlasov is a New York photographer. The Flowers project started unintentionally when Zezé, of Zezé Flowers, had given Denis a single flower to take home. It was a white Anemone.
“When life gives you Zezé - you photograph flowers,” laughs Denis seven years later, “Peggy and Zeze have a legendary style and exquisite eye for beauty! Their floral creations are out of this world!”
With more time and flowers, Denis developed a contemporary vision of the classical still-life study. Photoshop is not part of his creative process. “It’s all in-camera. What you see in the print is what appears after exposure.”
Flowers are turned from being objects into subjects. “My photograph becomes a portrait of a beautiful flower rather than a picture of a flower. I don’t rely on their beauty alone - I dig for character,” Denis continues,
“Flowers are visualization of the Universe expanding and contracting at the same time - a visual meditation. If their beauty makes us stop and reflect on the simplicity of life in the present, it’s a good day.”
Away from flowers, Denis plays saxophone and writes short stories.
Artist and filmmaker Marie-Cerise works and lives between Paris and New York. After her studies at Ecole des Beaux-Arts de Paris and the Royal Institute of Art in Stockholm, MC joined Essais, the Choreography Research program at Centre National de Danse Contemporaine.
From the equation image + movement, she focused on filmmaking. MC seeks a convergence between the movement and her plastic work. She directed an experimental animated documentary short film “Motu Proprio”, produced by Le Groupe de Recherches et d’Essais Cinématographiques. Influenced by the film Motu Proprio, her pictorial work concentrates on the practice of ink drawing on paper. Thereby she launched a series of large formats.
Her work has been shown at la Fondation Cartier and Centre Pompidou in Paris. In addition to her plastic work, MC is working on fiction and documentaries film projects.
"Drawing, painting and filming are mediums allowing me to digest what I observe, to interfere between reality and perception in an evolving relationship. The nature of reality is thus slightly altered and this shift helps me to detect the elusive in an articulation of the visible and the invisible. Through this manipulation I incorporate a movement into this interval _ this external proprioception moves the viewer and allows new content to be seen. This process involves experimentation. The transformation stretches like elastic dough. I build a permeable surface by flattening fragmented spaces."
Marie-Cerise enjoys playing Bach on piano.