Eric Marrian (1959) is a French architect by training, and photographer. In 2003, he decided to come back to his first love that was photography, a subject he hesitated to turn into a career in the end of his Architectural Studies. At this time, he started a series on Saint Malo, then turned to studio photography. In 2005, he started a studio series produced in large and medium format based on a graphic and surrealist approach of the nude. This process will lead to the birth of the Carré Blanc series which he will never let go of. As an asexual representation of the nude art photography and to shape a purely graphic representation, architectured and devoid of erotic tension, this series claims to be ascetic and unsensualized.
At the beginning of the new millennium he decided to return to his old love, photography, a discipline he hesitated about making his profession when still an architecture student. In 2003 he began work on a series about Saint Malo to which he still adds pictures. Later on he switched to studio work, producing medium and large-format prints. After that things moved quickly: he won the BIEVRES competition, was published repeatedly in photography magazines and had an exhibition of his own at the Salon des Artistes Français, at the invitation of the organizers.
At the end of 2005 he started work on the CARRÉ BLANC series. The first pictures from this series won him the main prize at the European Festival of Nude Photography in Arles in 2006. His series about Saint Malo also won an award, the Leica Procirep.
The exhibition which followed at Galerie Verdeau was extremely successful. He was spotted by a Russian gallery owner (Gallery 2.36) who went on to show his work in 2008 and 2009. Furthermore, Olga Sviblova invited him to the Moscow Biennale where he was allocated a 400-m2 space. Since then his ‘Carré Blanc’ series has often been shown, both in his home country France and elsewhere
Through this art and its function, he strives to make the viewer forget its primary function by reminding him only its graphic function while creating this surrealistic dimension. In Eric Marrian’s work, the model is partial, minimal and infinite. Curves and lines become absolute and disproportionate as they spread out of the physical frame, of the surrounding space, in a cold aesthetic, as a desire to pare down the body, to bring it back to a state of matter, raw and inert, in order to define it and model it better. Bodies are thus shaped modeled as if by a sculptor, laughing at a cheated spectator, confusing him on purpose to better serve him.
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