The photographic work of Anne-Lise Broyer feeds directly from literary and film worlds. The artist seems to want to preserve, maintain a certain mystery, a secret and only the revelation of its existence as to impose silence, half the words … disorder. His photographs – rare, only ten films a year – are those of a reader first. If they bear a burden intimate biographical buried one hand, they have an especially literary background. "This is a silent reading of the world that triggers the photographic act, she says, it is for me the book (literature), going to the world and return to the book." Anne-Lise Broyer does not pass at least one attached to the premises, the real – hence the importance of captions always indicate the place of shooting. Mainly black and white and small, images camped a place, a setting inviting the viewer to come and bury his reverie.
Anne-Lise Broyer questioned the relationship between photography and book artist. His series of images all take the fabric of a narrative of a text being read. In 2001, she published It maquis, in 2003 A story without a name, Fading in 2006 and 2007 amounting gray skies (seemed larger) in Watermarks. Meanwhile she makes books for children.
Being Beauteous
Amaury da Cunha, Marie Maurel de Maillé, Nicolas Comment, Anne-Lise Broyer
Léa Bismuth, Yannick Haenel, Etienne Hatt, Jean Deilhes, Hélène Giannecchini
Au Roi du bois
Anne-Lise Broyer
Le ciel gris s’élevant
Anne-Lise Broyer
Jean-Luc Nancy
Fading
Anne-Lise Broyer, Nicolas Comment
fotograf
Anne-Lise Broyer, Nicolas Comment
Le triboulet
André S. Labarthe
Anne-Lise Broyer, Nicolas Comment, Gérald Colas
Une histoire sans nom
Anne-Lise Broyer
Alain Coulange
C’est Maquis
Anne-Lise Broyer
Nicolas Comment
L’aile d’endormir
Anne-Lise Broyer
La petite vacance
Anne-Lise Broyer, Nicolas Comment