The political, religious, and ideological monuments in photographer Fabrice Fouillet’s series “Colosses” stagger with their extreme dimensions. But Fouillet is not concerned with hugeness for its own sake. He’s more interested in how oversized statues, despite their extraordinary proportions, fit in the landscape around them and, as he writes in LensCulture, the reasons for the “human-sized desire behind these gigantic declarations.”
The humans in Fouillet’s photos—miniscule and appearing infrequently—serve to emphasize the monuments’ sizes. “I wanted human figures in the pictures because by definition the creature and its creator go together. There is also the opposition of the lasting and the living, of the stone and the flesh, of power and vulnerability,” he said via email.
Undoubtedly, many of the humans that appear in the photographs were busy taking their own photos of the monuments. But Fouillet’s images distinguish themselves from those snapshots by capturing the statues away from their designed environments and incorporating them into the larger landscape. “One subject can tell as many stories as there are people photographing it. The most important thing is to find the right point of view, to achieve the expected effect,” he said.
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