Baptiste Rabichon - The Hybridization of Genres


It takes some time to visually grasp the works of Baptiste Rabichon. Here, a colour photograph of flowers, and there cut on a black background, a white silhouette, with in the back a large decoration made with negatives and on either side, fragments of architecture that seem to have come straight out of an old encyclopedia. Baptiste Rabichon's "photographs" are this mysterious whole that amazes and questions.

His works plunge us into a parallel universe, a kind of fabulous country where everything is possible and which is beyond all logic. A universe where the visible meets the invisible and where perspective is constantly confronted with a two-dimensional space. We are immediately seduced by these strange compositions that upset our usual perception of things and world. To understand them, we must therefore take the time to decipher them.


After a BTS in oenology, Baptiste Rabichon entered the École des Beaux-Arts in Dijon and then in Lyon before entering the Beaux-arts in Paris in 2013. His interest in photography arose relatively early in his practice: Baptiste Rabichon began to explore the digital image by appropriating existing photographs and working with software to generate new and entirely fabricated images.

These first experiments are the ferment of his current work, which is the result of a subtle combination of patterns obtained from different photographic processes. Disregarding the dogmas and turf wars between digital and silver supporters, this young thirty-year-old unabashedly combines digital with analog imagery, as well as direct object projection, photograms and chemical prints. At the crossroads of painting, collage and photography, these mysterious photographic objects reveal a magical and organic universe in which the vegetal occupies a predominant place. Baptiste Rabichon tells us that he has been picking things since he was a child. In his small plastic suitcase, he accumulated all kinds of objects: pieces of plastic, dried flowers, pieces of wood. Today, he applies this same method to his work, mixing his own photographs with images taken from magazines or the Internet and with patterns that come directly from everyday life, such as flowers or objects found from the bottom of his pocket.

In addition to brilliantly combining the complexity of different photographic techniques, he manages to create a visual universe of his own, from which a great sense of poetry emerges. He thus overcomes the mechanical coldness of the photographic tools to reveal to us a colorful imagination, filled with flowers and fantastic silhouettes and thus make us penetrate into the prolific mind of an image gleaner.

From all these elements, he builds the first step of his "photography": these different patterns are scanned and assembled on software in order to create a meticulously composed negative. The second step takes place in the darkroom where the negative is projected via an enlarger onto a sheet of photo paper. He thus obtains the final photographic work: the photosensitive surface interprets the image composed on the computer and reveals a new one that is the result of the artist's interventions and of chance.


More than a clever mix of techniques, Baptiste Rabichon's work also refers to a vast visual and vernacular culture that transcends temporality. We can see the disturbing atmosphere of the Douanier-Rousseau’s colourful paintings, the pop aesthetics of Valérie Belin's photographs, the herbaria of Fox Talbot or the decorative micrographs of Laure Albin Guillot. The artist assumes these references, which constitute his entire "material library" from which he draws the many patterns that compose his works. Although present and identifiable, these references do not hinder the creativity and overflowing imagination of our young artist. On the contrary, they must be understood as a tribute and an inexhaustible source of inspiration, entirely at the service of an already well-constructed and recognisable aesthetic: that of Baptiste Rabichon.

He thus inaugurates a new way of creating that shakes up the codes of photography and abolishes the boundaries between techniques, media and ages.

Baptiste Rabichon 82 boulevard Saint-Marcel


82 boulevard Saint-Marcel, 2017

Baptiste Rabichon 3 rue Quatrefages

3 rue Quatrefages, 2018
Baptiste Rabichon 20 rue de l’Yvette

20 rue de l’Yvette, 2017 Epreuve chromogène unique
Baptiste Rabichon Album IV

Album IV, 2018 Epreuve chromogène unique

Baptiste Rabichon Album XI

Album XI, 2018 Epreuve chromogène unique

Baptiste Rabichon 17ème

17ème, 2017-2018

Epreuve chromogène unique

14 Nov 2018 by Coral Nieto garcia

Trending articles


How To Avoid Dark Real Estate Photography

95% of homebuyers do their research on the Internet to buy a home on the Internet and people spend on average 20 seconds looking at online adverts, so visuals are more important than ever. Here's how to get your clients to fall in love with your properties by getting the shoots just right!

05 Dec 2018 by Lisa Scarpa

The appearance of colour in photography

Nowadays, we take colour photography for granted, but have you ever considered how it came about? The beginning of the 20th century was the debut of colour in both photography and cinema. Even after colour was perfected in photography and cinema, the traditional Black and White was favoured and it took awhile for people to come to terms with using colour.

20 Nov 2018 by Baptiste Le guay

Similar articles


Fotofever 2018 : the discovery of a bold photographic scene.

For its 7th edition, the young Fotofever fair had nothing to envy to the famous Paris Photo or the many events that took place at the same time such as Photo Saint Germain, Approaches, Photo Paris Vintage Fair, among others. Cécile Schall, Fair Director, and Yuki Baumgarten, Artistic Director, saw things big for this new edition which took place at the Carrousel du Louvre and which welcomed no less than 100 exhibitors from 20 different countries and 250 artists.

27 Nov 2018 by Coline Olsina