Born in 1980, in Paris.

Born of an American mother and an Lebanese father, Alexander Ray Tabet lives and works between Paris and Jericoacoara, in northern Brazil.

After studying philosophy, art and photography in Paris, he becomes the assistant of contemporary artist Cyprien Gaillard, which allows him to travel the world and actively participates in the artistic projects of the artist for several years. After a time, he chooses to live in Salvador de Bahia, then Los Angeles, and finally New York, where he works as a producer in fashion photography. In 2010, he goes back to his hometown, Paris, where he continues his work at the service of aesthetics for the biggest photographers of the fashion world.

After ten years in that universe, he decides to re-centre towards what originally moved him : landscape and abstract photography, always following his obsession with aesthetics.

From there, the series “The Dust Lifts” was born, as if after all this time navigating in a place faraway from its true environment, a veil was lifted to reveal a truer form of expression.


Stretches of wild land or urban micro-details, Alexander Ray Tabet explores the macroscopic remains of spaces weathered by Nature and by Man. His eye pulls us out of the instantaneity of image reigning over most of our lives nowadays and tries to seize the viewer in a state of soft confusion, immerged as he is in a landscape on the frontier of fiction.

There is something of the overview effect in the contemplation of these great spans of terrestrial textures, abstract and powerful : the look of the astronaut as he glances down on Earth from space, the way scales and marks of this familiar world are blurred, and the existential shock that ensues, that infuse sensation of infinitely great and infinitely small and his own humble position as a human being.

Photography and its contemporary technology allow Alexander Ray Tabet a technical ease but his eye is pictorial. Seduced by the swaying of colours and the grain of the textures, intrigued by the litheness of fortuitous shapes, he gladly considers his photographs as paintings. One can find in them the questions of an abstract painter looking for an aesthetic relationship between shapes and colours, spatial dynamism and the intensity of apparent gestures, and the balance of the entire composition.

This abstraction is done here by the brute force of Nature and, same to us, the artist is a passive witness.

In parallel, one can sense the very human research of some kind of graphic order, even wavering, of a rigorous geometry, where neither the hand of man nor the constancy of nature would have been able to create it. Nevertheless…

Discovering suddenly that the eye of the beholder, by simply fixating its gaze, can conceive spaces within spaces and create entire universes, these photographs, like so many windows, open onto another dimension.

Betty Rose M.

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