THE HISTORY OF BLANCPAIN

ney because Le Brassus is the last stop and
she cannot believe it. How could she go
farther? One by one, she ticked off the stations:
Moscow, Irkutsk, Sludyanka, Ulan-Ude,
stringing together meetings, accumulating
pictures. The end result: a new exhibition
curiously entitled “Russian Salad”. “Because
Russia, as I discovered it, is a whole mix of
huge contrasts. You see remnants of ancient
eras (czarism, communism, etc.) alongside
the present, with its Auchan stores, that
Muscovites are so proud of. In their eyes,
these superstores are more important than
the Red Square,” she explains.
That’s the end of the traveling intermission.
Back to the photographer, after following
the peregrinations of a photographer
who weaves her life with threads from here
and elsewhere.
IN THE WORKSHOP
A change of atmosphere. A different décor.
But still the same look, accurate and precise,
as well as intimate. Anne-Lise Vullioud possesses
these qualities, which are absolutely
necessary when it comes to helping with the
birth of an instrument. In Jeanmichel Capt’s
workshop, the lights shine from within. The
images have been set to music.
In a reversal that makes sense, the words
of author and poet Gil Pidoux illustrate the
pictures. However, be careful not to reduce
them to simple, developed captions. They
are an integral part of the symphony that is
offered to us by all the artisans of this book:
the tree gatherer, the luthier and the poet,
with photographer Anne-Lise Vuilloud conducting
the orchestra.
LE CUEILLEUR D’ARBRE
Photographs by Anne-Lise Vullioud
Texts by Gil Pidoux
Format 23 cm x 23 cm
100 two-colour pictures,
120 pages
Contact: al.vullioud@bluewin.ch
24 | 25