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"A visual and emotional epitaph, Garo's photography is his permanent memory, his 'sketchbook'. But it doesn't need to be frozen in time by words: it touches, moves, fascinates, questions, offends, repels - it lives. And when it takes on an almost mystical aura, when its very vision plunges us into meditation, when its music gives rhythm to an imperceptible score, then its very presence is enough to bring us back to that something essential and unalterable that we call consciousness - the consciousness of our existence."   Carole Glauser

Alongside hi pictorial work, the artist has long been collecting photographic evidence of the evolution of the landscape, the mountains and glaciers that form part of her immediate environment and identity, since Switzerland was entirely covered by glaciers almost 25,000 years ago. This alpine universe is undergoing a complete transformation, with a large part of it breaking up and melting away at high speed as a result of climate change.
Through his photographic work, which he develops both digitally and on film, he hopes to raise awareness of the life of glaciers, which is ultimately little-known. Digital photography is used to create spectacular, immersive and emotional installations of these giants of ice, which increasingly resemble veiny, emaciated bodies with human-like skin scarred by time and pollution. A diptych is also being developed along these lines, as man is as much the victim as the culprit of his own negligence.
The photo also serves as a visual and documentary basis for films or projections, and can become a reference archive for measuring the evolution of glaciers over time - a stimulating starting point for other approaches and media.
Using silver film and his medium-format Hasselblad 6x6, the artist uses a square black-and-white format to capture the skin of glaciers in a structural and pictorial way that is almost abstract. By also returning to an old developing technique dating back to the beginning of global warming, which uses coal in the process of printing the images, he denounces current pollution by using the very element that is the main culprit of current global warming, giving meaning to the images and his approach.
What's more, each manual print gives the image its own unique texture, making it almost a painting once again.

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