Marilyn Mugot is a French graphic designer and photographer who hails from the Paris suburbs where she began drawing at an early age. Having joined a school of graphic design at the end of her adolescence, she soon found her love of photography supplanting her passion for drawing.
Marilyn Mugot is passionate about cinema, and photography is a means for her to realise her own scenarios with atmospheres she invents and imagines. Her ethereal and saturated landscapes diverge from the everyday, constructing an entirely different reality.
The tool doesn’t really matter. It’s with a camera that I create but it could very well have been through painting, sculpture, writing.
Tell us about the themes you pursue
My subjects melt through my imagination. What the scenes in front of my eyes evoke to me. I like to collect symbols, play with time and make those who look at my photos lose their bearings.
Tell us about your Night Project and Venus’ Gardens, and what techniques you use to get those colours
The themes that are most represented so far are quite distant. I need to touch subjects that only meet in my head. Behind Night Project, it was about recreating a reality where time merges between the past and a certain future. The SF of the 90s did directed to achieve an aesthetic treatment with Hollywood sauce. Integrating this into Chinese landscapes seems like an interesting allegory.
Venus’ Gardens is a contemplative and sensitive work. A stopped time. Emotions through colours. In memory of the Nymphéas de Monet, there is this need to pierce a certain truth through the repetition of the subject under different lights, under different aesthetic and colorimetric aspects.
What other photographers / filmmakers have been inspirational to your work?
In the photographers I would quote Philip-Lorca Dicorsia, Jeff Wall, Lise Sarfati.
For directors: Lars Von Trier, Michael Haneke, Nicolas Winding Refn, Krubric.
What do you think makes a memorable photograph?
An image creating immersion through emotion.
What do you want viewers to take away from your work?
Access to a world out of reality.
What has been the most incredible thing you’ve captured on camera?
Hong Kong; unique city, cinematographic.
Your favourite scene / location you’ve ever shot?
The moments of street scenes making me totally forget my own presence.
How has social media played a role in your work?
It is a simple and fun way to gather, in community, everyone’s interests.
What advice would you give yourself if you started all over again?
I’d tell myself to trust me. To believe the images I have in my head. To work my medium enough to be able to transcribe these images as faithfully as possible in order to integrate them visually into reality and make them exist.