She photographs to search emotional: utopia, worry, anguish, boredom, desires…
Milky portraits of young people in the fuzzy outlines, in the fragile aspect, in the pictorial appearance, like an intimate mirror on which we would have put down a veil of distance to protect the interiority.
After a double course of modern Letters and cultural communication, Charlotte integrates Gobelins school, Paris, where she leaves in the majors her promotion. Her photographic work, if it is spread seemingly around several sets of themes (the body, space, darkness) does not stop questioning the image: its power of representation and transparency, but also its own limits.Bluish images, vaporous bodies, the subjects seem fixed, as if the image, struck them, carefully, of an irremediable feeling of artificiality and picturality. Its images are often impressed places of its childhood to which she attached great significance.
Charlotte Mano, Portraire painting series.
Memories, characters, landscapes, feelings, translated in a contemplative atmosphere and a bit nostalgic can be found in her body of work.
Her influences are the fantastic literature from the 19th century, the symbolist painting, the surrealist work by the Chinese contemporary artist Zhang Xiaogang, from the painters like Axel Katz or Marlène Dumas, but also from the very technical photography work of Dorothée Smith.
SURFACES a white wire which is held in an arbitrary way in an opened landscape.To delimit, close it, inform, like the setting in the abyss of a fictitious territory in another, the Nature, a immense landscape. A limit with four corners: an intermediary between a real and fictitious space in which the spectator is invited to project itself.The surface is the product of possible, of withdrawal of case, the condition of one nothing which could become another thing, of being born from the ground stone and water.
The night, in the noise of the pixels, the bodies always exist but their demonstration seems faded, dubious, with the limit of the loss. The ambivalence of their appearance and disappearance testifies toa hypersensitive humanity where the spectator sees himself constrained to give up a sterile referential significance and to accept that the complete black is the catalyst of an even poetic imaginary new approach.
In this scotopic vision, the matters intermingle and are answered so that one loses oneself in that of the body, that of the night, that of the image. Us here are exploring these spectra in the “process of their findings” (Régis Durand), imagining a meeting, perceiving an absence. Thus we return in a sensual report to the image: the constraint of the visibility obliges “to decipher” the other, “to see it”, in its fragile presence.
Portraire in its series temperately called Portraire, Charlotte Mano questions the image and its power of representation.
The series Aire reflects the fiction and reality. Theses photograph represent silent landscapes. The spectator is invited to meditate and lost himself in these landscapes. Those places are peaceful and give us the impression they are not completely real. The movement is absent. The spectator focus on the white line rectangle. In that case, there are different landscapes we could define the one inside of the rectangle and the other one outside of it. Charlotte Mano offers us different visions of one photograph.
These are the places of my childhood. For now, all my pictures are taken in the village where I was born. Wild places I hated when I was a child but I rediscovered today by photographing in these familiar landscapes. These are inspiring because they are part of me and representative of personal emotions I need to express.
We can notice that some emotions like loneliness and melancholia are recurrent.
I think we should disregard what I photograph to associate with a naive or clever symbolic. To search emotional: utopia, worry, anguish, boredom, desires… These feelings and these emotions apply to the universe (universe we perceive or suffer or which we act through senses, reason, intuition…). Loneliness and melancholia in my photographs are truly an outlet. These are not kind of feeling we express openly but this is my attempt to materialize them, maybe with the aim to win over them. In fact, it’s very stimulating and liberating.