With no doubts, Richard Schlang demonstrates that he is a real photographer. Looking at his work, through the way he controls the shooting, the frame and the light, he reveals the intrinsic quality of his images. Thanks to his brilliant studies at the National School of Beaux-Arts ( ENSBA), he gained the knowledge of the essential technicality. It is only from 2007, that he was able to fully precise his artistic path. In his chapter of photographies called " Details", he is drawing an utopian work, thanks to his approach , through his lens. So, he reveals his vision of the world, his mental " universe" , where he confronts his plastic preoccupation to the ability to make those visible. Sometimes, when you are watching his work, side by side, you realise that there is an interaction, which could lead, as a narration, to a new representation.

Richard Schlang , in his art work, which his treated also as the memory of the character, of his life, and sometimes of some unofficial stories and its poetic metamorphosis, highlights the problematic relation between details, time and emotion. Thanks to the exhibition of some feminine curves, or some objects lying around, in a lethargic way, at the bend in the streets, the temporal and sensual dimension is highlighted. To the subjectivity of the Wim Wenders print, the absorbing atmosphere of the paintings of Edward Hopper takes place. The Pop Art Polaroids from David Hockney and the sophisticated technical work of Nam June Paik, played also their role in the inspiration of the artist.

Something new happens. A spiritual dimension, consequence of his fertile imagination, takes a big part in his work of the image, in order to transform the reality into transcendental dreams. When, playing with the detail of an object , an emotion or a moment, photographies are a demonstration of a vision out of frame, directly linked to all senses. With this experience, the work of Richard Schlang attempt to attract us.