Jérôme Brézillon traveled across America for almost two years on a train. He made two trips successively in 2010 and 2011 and was preparing to make a third before disappearing prematurely in March 2012.
After the Filature de Mulhouse, the pictures from the “On Board” series are displayed on the walls of the Sit Down gallery. A real invitation to travel for a crossing of the United States.
Through the window of his wagon, the landscapes pass by. It is in a contemplative way that Jérôme Brézillon captures inhabitants, meadows, vast expanses, endless roads to restore the peaceful and bewitching atmosphere. Faced with the crampedness of the wagon and the window, the immensity of these great American spaces is all the more impressive for this amazed photographer when the landscape reveals itself to him. He writes “American trains are slow and allow you to see it coming, the sets appear, disappear, chance has its place, the images are fragile and furtive, the speed gives them a diffuse aspect. I become a spectator, as if I photographed during a tracking shot
A true image hunter, he does not seek the spectacular but “the right image”. He captures fleeting moments, evanescent landscapes.
His photographic work is nourished by the eye of William Eggleston, Stephen Shore, like that of Joël Stern or even Walker Evans, and the part of vagueness and mystery that emanates from his photographs is reminiscent of the novel Sur Jacques Kerouac’s road.
These trips culminated in the publication of a posthumous book “On board” in March 2014 by Textuel, the last testimony given by the photographer on his fascination with the great American spaces.
Jérôme Brézillon had chosen images on the return from each of his trips and had pasted them in the form of reading prints in notebooks, thus leaving precious indications for the conception of this work.