In conclusion, Harry Gruyaert's innovative use of color and his keen eye for capturing the essence of a place have solidified his position as a master of street photography. His legacy continues to inspire and influence photographers around the world, proving that color can be a powerful tool in creating compelling, thought-provoking images. Heavily influenced by the Popart of the 1960s and further inspired by the visual impulses on his first trip to Morocco in 1969, he decided in the second half of the 1970s, as one of the first photographers in Europe, to commit himself entirely to colour photography.

Rivages" (2003), a series of photographs capturing the beauty of various coastlines around the world. bodies of work in North Africa, the Middle East, The United States, Europe and India, as well as in his native In "Harry Gruyaert: Between Worlds", Gruyaert's mastery of color-saturated atmospheres is showcased through a collection of his most cinematic images. The book dissolves the boundaries between exterior and interior spaces, creating a luminous alchemy suspended in time. This collection of seventy-five images highlights Gruyaert's skill in capturing the complexity and plasticity of space, immersing the viewer in a captivating world. Throughout his career, Harry Gruyaert has received numerous accolades and has exhibited his work in galleries and museums worldwide. Some of his most notable projects include: Heavily influenced by the Popart of the 1960s and further inspired by the visual impulses on his first trip to

Thames & Hudson (English) / Atelier Xavier Barral (French), 2022

Opening: Saturday, Sept. 10th 2022, from 2 to 6 pm, in the presence of the artist Show: September 13th – October 29th 2022 Gruyaert’s play with illusion and perception throws the viewer off balance. The depicted obstructions create distance between the viewer and what is being photographed. They generate awareness – much more than in Gruyaert’s other work – of the presence and position of the photographer. The latter is present, but never really seems to belong in the place he photographs and – consciously or unconsciously – takes on the position of an outsider. Although Gruyaert always states that he simply records what he sees – without any autobiographical or subjective motive – these images might reveal an insight in the psychology of the artist. According to Campany these photographs may be understood as “metaphors for Gruyaert’s passing through, for his being in a constant state of transition.” “Threshold images are a perfect means of expressing and contemplating that feeling of belonging to different registers of experience, and to nowhere in particular,” the writer states. They are therefore always self-conscious and reflective images, also in the case of Harry Gruyaert. Between Worlds, the newest (and one of the best) Thames and Hudson publication(s) of Harry Gruyaert’s photography, is an impressive showcase for his well-earned reputation as a master colorist and confirms Gruyaert’s gift for creating beautiful visual puzzles. subtleties of eastern and western light. A member of Magnum Photos since 1982, he has created significant

Gruyaert's focus on the interplay between people and their environments has also influenced a new generation of street photographers, who seek to tell stories not only through human interactions but also through the context in which they take place. Photographers such as Dotan Saguy and Jonas Bendiksen have followed in Gruyaert's footsteps, exploring the connections between people, culture, and urban landscapes in their work. A bit later, Campany continues, “For Gruyaert, making threshold images means bringing together different light levels and different color temperatures. Neon and sunset. Warm tungsten on a cool day. Crepuscular street light and the bright fluorescence of a midnight launderette. It also means bringing together different dimensions of human experience. The consumer theater of a shop window, and the drab reality of the street that reflects. An empty room and a lively world outside. Walkers on roadsides and drivers sealed in cars.” Unlike many of his contemporaries, Gruyaert does not focus solely on the human aspect of street photography. Instead, he also pays close attention to the environment, incorporating architecture and urban landscapes into his images. This approach allows him to create a more comprehensive visual narrative of the places he visits.

Between Worlds

Leica M6: A classic rangefinder camera known for its compact design, durability, and outstanding image quality. Gruyaert's play with illusion and perception throws the viewer off balance. The depicted obstructions create seems to belong in the place he photographs and - consciously or unconsciously - takes on the position of an In 2018, a documentary about his life and work was made entitled ' Harry Gruyaert, Photographer'. Drawing feeling of belonging to different registers of experience, and to nowhere in particular,'' the writer states. They are

Harry Gruyaert‘s embrace of color photography set him ahead of many contemporaries in Europe at a time when the medium was widely seen as most applicable to the realm of commercial and advertising photography. Yet Gruyaert’s interest in colour was not the only thing that set him apart from his peers, as he explained in an interview with The British Journal of Photography: “In Europe and especially France, there’s a humanistic tradition of people lik e Robert Doisneau and Willy Ronis where the most important thing is the people, not so much the environment. I admired it, but I was never linked to it. I was much more interested in all the elements: the decor and the lighting and all the cars: the details were as important as humans. That’s a different attitude altogether.” majority of the photographs on view are taken through a window, in which Gruyaert points his lens both on what

FIFTY ONE TOO

subjective motive - these images might reveal an insight in the psychology of the artist. According to Campany Another image from is from Madrid in 1993 and appears to be taken outside a subway car, through a sheet of glass to a man and a woman sitting inside the car. Between them is another window looking to a subway platform on the far side where two nuns talk to a woman and a young boy. There are more people next to them. Every layer here is a story. There is the story from the observer, the story from the two inside the car (the looks on their faces speak volumes), the story from the four the far distance. Born in Antwerp in 1941, Harry Gruyaert is renowned for his saturated color photography that explores the