Guillaume Krattinger was born in 1985 in Besançon. He spent his childhood in the Jura, where he attended a literary course before going to Paris to study applied arts. The first subject he chose was « fashion textile design » at the Olivier de Serres college (Ecole Nationale Supérieure des Arts Appliqués et des Métiers d'Art). His BTS (Brevet de Technicien Supérieur) completed, he was admitted at the art school of Paris (École Nationale Supérieure des Beaux-Arts) in the studio of Jean-Marc Bustamante where he developed a practice of sculpture and photography for 5 years
It is during a first trip into the heart of the Italian Carrara quarries that photography revealed to be the obvious way of watching, or collecting some scattered pieces of the world. His photographs are attuned to signs of the world, and it is in factories where materials are being processed he finds his favorite subjects. His universe takes us then from polluted rivers to industrial areas via India or Tchernobyl.
He has a will to discover what is usually hidden on the outer edge or in the initial stages of our daily lives. But behind this desire emerges a broader commitment, an attempt to understand our world, to free sense from its appearance. Ultimately it appears as a quest, just like the one of those ancient travelers who tried to bring out a picture of our world.
Recently he began to engage the viewer in what he called "epiphanies" : those moments when everything becomes light, leading to the photographic act. His prints are then performed on glass plates. The image only appears when the viewer positions it against a dark support while the lights are made of metallic silver reflecting ambient light. The birth of the image is the first experience of the epiphany. But there is a second one which emanates from the picture itself. It lies in the fact that, for example, an ordinary arrangement of concrete shapes is able to turn into the appearance of a totem and a trace of sawdust into an evocation of a milky way. The fabric of reality is then punctured by an underground burst of a revelation and forms of the world become communicative.
We could sum up the enterprise that leads his works into a question: “how does what man see in the world, live in him, inhabit him and ultimately end up by making sense ?” In the end, shooting a photo is only a way to fix this outcrop of sense, and to step into the understanding of what man is.