The photographic work of Pablo Lecroisey is the result of an inquiry on the feelings and obsessions that, throughout his career, have configured his unique world inside the photographer’s personal language. His work can be translated in an ensemble of noticeable, fantastic and surreal sense that could be classified as Ars Combinatoria, that is to say, a way of representing reality as a complex and plural osmosis of characters and prodigal settings in their entity and argument. In this way, he presents a catalog of an unlikely convergence, by understanding this description as astonishing, but with enough indicators to comprehend and deduct from its initial intention.
Lecroisey is a photographer of multiple narrative resources whose aesthetic has constant references to the Baroque masters and Raphaelites. He stands out for the use of light and the knowledge of chromatic values in robes and settings, the understanding of space and the changing lighting values,
specially in the moments of luminous intensity, mostly in the shadow appearance, and the attraction of movement throughout the vision of stages and figures’ assembles. In this way, Lecroisey transports light and conducts the spectator’s eye through his skilled use of the objective throughout the compositions’ strength, applied with certainty and enlivened between them, as the figures act as a cohesive element in a easy handling of styles, methods and means.
His photographs include portraits of characters that interact, between them, in their environment, in an excessive theater full of energy. In each composition, Pablo Lecroisey addresses little stories, contemporary tales, and fable morals: El dia de mañana (Tomorrow) invites us to explore the beauty of the unexpected throughout dance, the series La casa grande de Fuencarral (The Big House of Fuencarral) narrates through a phantasmagorical presence the enchantment of the ruins, the heartbraking Los gritos del Prado (The Shouts of Prado) transmits the angst redeemed by the action, Nacho ha muerto (Nacho is Dead) talks about the artist’s solitude and chaos. Nunca es tarde (It’s Never Too Late) reflects about the ages of man, eternity, etc… All of his works remind of frames that display a multiple argument without a lineal structure. These photographic sequences simulate an argumentative line, a story, a type of tale, and even if they can unchain a series of actions in the spectator’s mind, the narrative is too fragmentary to obtain a global image. His bet for staging in unsuspected places (like the Tabacalera Cultural Center, the Thyssen Museum or the historical Lhardy restaurant in Madrid) gives a new meaning to these spaces, at the same time that his narrative imagery satisfies the collective wish of story creations. The artist oscillates between past, present and future, reality, tradition, modernity, fiction, and reality, addressing the human soul’s most deep feelings.
The specific turns into the photographer’s interior aspect, the narrative angst, and the inventiveness plays with the transcendental self that joins the concepts that Lecroisey generates in his eternal fight forward.