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Words of support



About the photographs of roma women taken by Eric Roset, bypar Claire Auzias.


Words of welcome , Maurice Jecker Parvex, professor-researcher ESF-TS.


Exhibition in Annecy, text of presention de Jean Bernard Mazens, teacher and technical adviser in pictures.





Gypsies are one of those subjects pampered by photographers: exoticism and visual force are guaranteed. Whatever the style of the photographer is, he will find hapiness in these people from all countries united in a suggestive power which have often been celebrated. Even in Arles, with Lucien Clergue, the illustrious predecessor. There have been photographs of Roma from all countries since the nineteenth century in European museums.


Eric Roset is registered in that particular pictorial tradition that captures a moment, an expression and offers it to us. But his photographs of women, more than his other subjects and characters, are signed by an idiosyncrasy which is recognizable from afar. These women are ultra-modern, perhaps even post-modern.


They live in various European countries, they are rural or urban, live in a caravan or are sedentary. But they are never frozen on glossy paper for the posterity of stereotypes that have done so much in the construction of an imaginary Roma woman. No, the women observed by Eric Roset don't have to be ashamed of their place in Europe today, because they act like all women of Europe. They sit together to discuss, among women. He captures two friends here, three gossipers there, four roma workers elsewhere. Children wearing make up, others posing with a sulky pout, or even a grimace. They are working: harvesting, gathering, cooking outdoors in precarious conditions. The Gypsy women photographed by Eric Roset, undoubtedly fled all stereotypes to camp in the world of today, wearing jeans and Adidas, riding a motorcycle, wearing "Made in China fluorescent pink" flip-flops, like anyone who shares the same low economic level.


We can thank Eric Roset because he has deviated from the so often explored aesthetic path, to lead us to another reality of Roma women. In this he is a precursor, and well ahead of the general photographic uses of the roma world.


Claire Auzias, November 30, 2009






Dear Eric, dear Alina, dear guests, dear students, ladies and gentlemen ...


Let me say a few words of welcome ...


It is with pleasure that I welcome you on behalf of the staff of the HEF-TS and in particular, its director and members of the group "Déco-expo"... to the opening of the exhibition which presents the work of Mr. Roset. I was immediately affected by the images that Mr. Roset sent us in the course of last summer. He suggested that we exhibit them on our walls...


So much tenderness, gentleness and life emanate from his photographies... it is with much enthusiasm that I submitted the proposal of Mr. Roset to the group "Déco-expo" of our school... After viewing the images, it was not difficult to respond positively and with much happiness to Mr. Roset's request...


We worked together in order for his photographic work entitled "Opre Roma, Roma Standing" to be presented here as of tonight.


I was immediately struck by the photographs: the beauty of the characters, the vitality of movements, colors, dignity of character. The finesse of his compositions fascinated me.


I appreciate the natural quality of these photographs that makes us feel close to the people exposed to our view. The pictures are beautiful, because the people that I see are beautiful. They emanate joy of life, emotions, pride of being human, of being a woman ... They bring us air, music and light ...


Paul Klee, artist of the last century, wrote in his diary: "Art does not reproduce what we see; rather, it makes us see." ...


I think this is what the work of Eric Roset conveys.


To look someone in the eyes or to be looked at is not easy, especially when we are strangers to one another. Isn't it the same when we use a camera to capture another?


Very often we prefer see others furtively, or indirectly, without too much stress...


The artist has taken the opposite stance of the dominant discourse, provoking distrust and the fear of each other, emphasizing the strangeness of others... to make visible what is beautiful, good, in his fellow-men! I am convinced that is what we need today and that is what our heart and our eyes are looking for... in unexpected encounters...


It is clear that Mr. Roset has lived these encounters, established a relationship, a relationship of trust, so dear to social workers.


He was able to watch and create a climate of trust that was propitious to a real exchange, dialogue, a significant interpersonal encounter.


With him, we enter not only in everyday life and the scenery of the world of some people, somewhere in Europe or on its roads ... With him, we get acquainted with a little girl dancing, with a family, with a group of young boys, with young girls at the door of their house, we hear a few notes out of a clarinet musician, we live a few moments with the maker of baskets, we share the emotion of a little girl... gradually we develop a relationship, a kind of dialogue, and then we leave...


In August Strindberg's The Dream Play, The Blind Man says "Meet and part. Part and meet. That is life." The connections created through Mr. Roset's Art... are the same. A moment of encounter, a journey of recognition, separation and then, the pleasure to meet each other again...!


I know I am responsible for what I see and I take responsibility for the way I look at others and the fact that I choose to see or not what is invisible... but I am infinitely indebted, and I express my sincere thanks to the artist for what he shows us in this exhibition.


50 years ago, when he received the Nobel Prize for Literature, Albert Camus spoke of the commitment of artists in defending freedom and human values. He said in particular, speaking about the artist, "if he reflects the suffering and happiness of all in the language of all, he will be universally understood. As a reward of his absolute fidelity to reality, he will achieve total communication between people. "


At the edge of the twenty-first's century it will not be useless for artists and social workers to combine their strengths and sensitivities and work together with their tools for the defense of freedom and human values which are constantly challenged, weakened...


I wish you a good tour of the exhibition and hope to have the pleasure of meeting you again another day, and now let's make place for the music and images...


Mauritius-Parvex Jecker, March 17, 2007





you see the lake, there, it's beautiful


you see the city, old or young, it depends


you pass a street, two streets, a square, three blocks and there?


yes, there!


a woman, a man, a child, a baby


do you see?


do not worry, look!


the photography is 1/125th of a second, it is faster than your eye


it will make you see all colors


éric roset catches the eye


it is to his world like these people of the world came to him, sharing glances,


aristocracy of free trade, frontiers that no longer exist,


from east to west, from the countryside to cities, he takes pictures


the photography is the light that emerges from the shadows


the red and green that come out of the dark


he handles the layout and background, but, damn! there is a meaning


yes: the photograph sticks to reality, it's its nobility


reality will be obvious, it is inevitable


very well!


that's life, you see


for éric roset,


jean-bernard mazens, november 25, 2008