“(…) Vincent Gouriou’s photographic portraits sway certitudes and expectations. In varying degrees, they blur the line between masculine and feminine, nuance the definition of what constitutes a family, and go against the very idea of the norm, be it moral, social, physical, or sexual. (…) Sometimes underexposed, Vincent Gouriou’s photographs are suffused with a somewhat cold atmosphere and mineral shades. The shades of colour fluctuate between greys, blues, and pale green, making it hard to tell if they are to be called slate, ash, cobalt, pearl, or celadon. Nothing is definite, nothing is monolithic. On the contrary, indecision – whether chromatic or semantic – is what protects Vincent Gouriou’s work from […]
“(…) Vincent Gouriou’s photographic portraits sway certitudes and expectations. In varying degrees, they blur the line between masculine and feminine, nuance the definition of what constitutes a family, and go against the very idea of the norm, be it moral, social, physical, or sexual. (…) Sometimes underexposed, Vincent Gouriou’s photographs are suffused with a somewhat cold atmosphere and mineral shades. The shades of colour fluctuate between greys, blues, and pale green, making it hard to tell if they are to be called slate, ash, cobalt, pearl, or celadon. Nothing is definite, nothing is monolithic. On the contrary, indecision – whether chromatic or semantic – is what protects Vincent Gouriou’s work from any kind of standardisation.”
Excerpt from a text by Lilian Froger commissioned by Documents d’Artistes Bretagne on the occasion of the publication of Vincent Gouriou’s dossier on ddab.org