Presentation
Hans SILVESTER
Parrains - Invités,Photographs
Hans Silvester’s calling came early. Born in 1938 in Germany, he began learning the craft of photography at the age of fourteen in a photographer’s studio, earning his diploma three years later. He then set off to travel across Europe.
In 1960, “Camargue” was published, accompanied by a text from Jean Giono. That same year, Provence became his home base — and remains so to this day.
Travel followed travel, with long-term reports, patience, and passion. His work appeared in the press, in dozens of exhibitions, and in more than fifty books.
Hans Silvester established himself as an active defender of the environment — with works such as Calavon: The Murdered River — and as a remarkable wildlife photographer, with titles like Cats in the Sun and The Horses of the Camargue.
Nature is his second nature. One could even see him as the first ecological activist to have wielded the camera as a tool of persuasion. Whether documenting the changing life of a Basque village or capturing the last rituals of primitive tribes in Ethiopia, he always does so with respect and depth.
A lover of the Earth, he is equally drawn to the creatures that inhabit it — including animals. His iconic images of horses and cats (a major success in bookstores) are powerful proof.
His work forms a whole — a body of art that celebrates the beauty of the world and reflects a strong sense of independence.
The images he selected — from among thousands — trace the journey of a man and the evolution of photographic creation.
Joëlle ODY
Exposition
In the Amazon, where I saw the state of the forests firsthand, it felt like I was staring at hell—twisted tree trunks, smoldering debris, and an eerie, sulfur-like light.
Getting close was risky—what if the fire started up again? And yet, in this vast reserve of biodiversity, the green lung of the planet, the forest is still holding on. It’s fighting back against the agents of big agribusiness, who want to wipe it out completely to make room for large-scale cattle farming or intensive crops.
First, the forest is too damp. So they cut down the trees, let the leaves dry out, and then set everything on fire. But the flames can’t destroy the thick trunks. So they plant a type of grass from Australia. It grows fast, up to two meters tall, and burns really well once it dries.
Then hell really takes over—everything gets wiped out: plants, insects, birds, and any animals caught in the blaze. Before long, a road is carved through the ash-covered land—red, like an open wound. The smoke and glow of the fire don’t seem to bother the cattle much. They’re more interested in the photographer than the distant flames. As if they’re used to the fires that clear massive areas just for them.
