Home Biography Contact PortfoliosEN Belgian photographer, Mathieu Ritter ’s current collection “Bancs Publics” honors public benches, which he believes are the silent viewers of society. “Benches don’t move, don’t speak and can’t defend themselves,” Mathieu says. “They observe the world in all its complexity.” Mathieu is looking forward to talking to people about his work at the October fair, and hopefully getting new ideas about where to go with future projects. Biographie Born in 1987, with a swiss father and a belgian mother, Mathieu Ritter studied at St Luc Art School in Brussel. During his formation, he discovers more and more about photography and techniques, his passion since ever. His father, a famous antique dealer, transmits to him the knowledge of beauty. Later, he worked at the Young Gallery in Brussel, that it develops the desire for producing more, not only for him. During his travels, Mathieu Ritter uses his talent to do his own travel notebooks. "With the time, his eye becomes very special and unique. This dream to fix on the paper a specific world vision becomes a necessity. The favorite subject of Mathieu Ritter: the bench. Quiet spectator of a complex civilization, the bench assists on all periods of life, accomodates any kind of users. The bench is sometimes mutilated, sometimes embellished, part of a town or in the middle of nature. Lost in an enveloping world, reassuring for some people, worrying for others, the bench seem to meditate. Strong fondations to continue, resist the external aggressions, or fragile bases announcing a close end. The bench is dumb, the best inspector of the landscapes to which it faces, and also scenes in which it becomes principal decoration. Mathieu Ritter's benches create melancholy, poetry, and awakening of our destiny. But we have to don't forget this fabulous invitation to escape..." ------------------------------------ FR Le temps passe et son œil s’aiguise. Ce rêve de figer sur le papier une vision particulière du monde devient nécessité. Le sujet d’étude de Mathieu Ritter: le banc. Non pas le pur fruit du hasard. Silencieux spectateur d’une civilisation aux mœurs complexes, le banc assiste à toutes les scènes de la vie, voit défiler nombre d’usagers sans jamais les retenir, se retrouve parfois mutilé, tantôt citadin ou perdu dans une nature omniprésente. Egaré au cœur d’un monde enveloppant, rassurant pour certains, inquiétant pour d’autres, le banc n’a de cesse de se livrer à une méditation aux limites du mysticisme. Bases solides lui permettant de perdurer, de vieillir et de résister aux agressions extérieures ; ou bien fragiles fondements annonçant une fin prochaine. Le banc reste muet, sans nul doute le plus contemplatif examinateur des paysages auxquels il fait face, mais également des scènes dans lesquelles il devient décor principal. Etrange mise en abyme dans laquelle notre regard est attiré vers un spectacle immobile de rêverie désincarnée… Les Bancs de Mathieu Ritter suscitent mélancolie, poésie et prise de conscience de notre inéluctable destin. Mais ce serait sans compter sur cette fabuleuse invitation au voyage…