THE TWO LABYRINTHS
In The Two Labyrinths, Michel Le Belhomme (1973, France) takes on one of traditional photography’s biggest darlings: landscape and its representation. Describing landscapes as the “ultimate romantic subject”, often expressed as contemplative or breath-taking, Le Belhomme counters this viewpoint with his assessment that they should be seen first and foremost as a system, or a theorem of time and space.
Placing himself in conflict with this concept, he reworks imagery and materials into physical constructions, creating fictional accounts of landscapes. Each image in Le Belhomme’s on-going body of work adds to his argument, teasing apart the idea of the landscape into ambiguity.