Cecile Rausch
Bio
Workshops
2025: Contemporary Photography (V. Galbán). 2024: Intimate Project (F. Blanco): -Lighting and post-production (Individual, C. Mei). 2022–2018 (Group, A. Sánchez Zinny). 2024–2019: Visual Art in Photography (Individual, M. Calí). 2017–2019: Humanist Photography (Group, I. Míguens). 2015–2016: Critique and Project; Creativity in Photography (Individual, J. Weisz). 2016: The Personal Photobook (A. Pérez Aznar). Courses: Seeing Through Photographs; What is Contemporary Art? (MoMA, 2019). 2018–2024.
Photography workshops and critiques: Yosemite (J. Bosman); Jujuy (L. Ahumada); Guatemala (I. Miguens); Iceland (J. Hilmarsson).
• Solo Exhibitions
• 2026: Espacio Peces, Buenos Aires.
• Group and Joint Exhibitions
• 2025: Pinta, Argentine Photographic Institute booth (with I. Khafif), Buenos Aires.
• 2024: ArteLamrot, Buenos Aires.
• 2024: XXII Tarbut Art Salon, Buenos Aires.
• 2020: Salon Pictorem, Quebec.
• 2019: Al Margen de lo Real (On the Fringe of the Real), A. Sánchez Zinny workshop, Borges Cultural Center, Buenos Aires. 2018: Rumania en Dos Tiempos (with J. Weisz), Centro Cultural Borges, Buenos Aires.
• 2017 and 2018: Annual group exhibition, I. Miguens’s workshop, Tattersall de Palermo Fair, Buenos Aires.
Competitions and Awards
Galleries: Work held in the backroom at DotFiftyOne, Miami. Competitions: Selected as an Editor’s Pick by LensCulture (2024) and in the Curriculum Cero (CVO) competition (2022).
Statement
My work emerges from a need to explore the relationship between human beings and nature as a space of transformation. A recurring human figure appears in my photographs, stripped of identity and any individual reference. It does not seek to represent a particular person, but rather becomes a silent presence, a point of encounter from which the viewer can enter the image.
The landscape then ceases to be a backdrop and becomes a dialogue partner. The sea, ice, mist, and rock do not function as descriptive elements, but as presences that alter our perception of time, scale, and silence. I am interested in that moment when the natural world ceases to be observed and begins to be experienced.
I work primarily with digital photography and direct image-making. In some projects, I incorporate interventions, collage, and sculptural elements that expand the possibilities of the medium—not to distance the image from reality, but to deepen its poetic dimension and open new ways of perceiving.
I believe in photography as a space where contemplation can regain its value, and where the experience of looking can become a way of inhabiting the world. In that pause, the landscape ceases to be external and becomes an inner territory, where nature, memory, and presence enter into dialogue on the same horizon.
I do not photograph landscapes. I photograph that moment of belonging when human beings and nature cease to be opposites.
2.5 x 4m / 98.4 x 157 in
