The Colour Years 1972-2002

At the start of the 1970s, Cuchi White engaged herself in the systematic exploration of trompe l’oeil, and definitely adopted colour. She created a vast panorama of painted artworks on street walls, churches, or palaces, from the Italian of fondali – these back of courtyards ornate with false perspectives – to all forms of urban art, preempting the fashion of the ‘street art’. The photographer developed large series around museums, palaces, villas, and gardens, from cities’ architecture to boat-shaped houses.
She invented a new esthetic research around the arts, considered at the time as minor by her photographer colleagues.

The human beings are thus out of the frame, but still present in the paintings, the frescos, the sculptures, or the dolls and mannequins that adorn windows and popular sights. She was particularly sensitive to the past’s traces inscribed in the matter of the present.

By owning once again the visual vocabulary set up during the black and white years, her sense of space, of light’s geometry, she affirmed in a highly personal way her vision of the real through the representation of many sorts of faux semblant.