Marguerite Bornhauser was born in 1989 and lives and works in Paris. Her first solo show was at the museum of European Photography in Paris (MEP) in 2019. Her work has been shown in several art institutions, galleries and art festivals in many different countries such as France (Paris, Arles, Toulouse, Deauville) Cincinnati, London, Brussels, Portugal, Istanbul, Switzerland and shortly in Japan. Her work has also been exhibited in public spaces; the subway in Paris and billboards in USA with the Cincinnati art museum. Marguerite Bornhauser adds editorial work to her photographic research. Her first self published book, Plastic Colors, was selected among the finalists of the first book award of Mack books in 2015 and published in 2017. Her book "8" was published by Poursuite in 2018. In 2019 she published Red Harvest with the same publisher. She published her fourth book with Editions La Martinière in 2021 and is about to publish her fifth book. In 2020, she won the Photo London x Nikon Emerging Photographer of the Year award.
Marguerite Bornhauser elaborates a visual writing form filled by intense cores, graphic forms and deep shadows that narrow the difference between the real and the fictional. The artist expands all the details: plants outlines, building shadows and human bodies, isolating and removing these elements from its context, in order to find abstraction in reality.
In the text about her recent solo exhibition at Maison Européenne de la Photographie, Simon Baker has stated that “Bornhauser’s work is compelling not because, like some latter-day stylist, she creates her own, mannered, chromatic world, but because, instead, like Hammett’s "Continental Op", she does the hard work of observation, assembling fragments of the world until they add up to something more than the sum of their parts. In Red Harvest the coloured details could be considered as purely incidental, atmospheric asides in the pursuit of a greater immersive fiction. But in "Moisson Rouge" the sunshot bodies, too-bright waters, burning skies and broken shadows do something quite different. Rather than proposing a false reality in which we can lose ourselves, they take us away from life as it is lived, or at least, as we ordinarily experience it on the surface, leading us deep into an ever-present, super-saturated alternate truth. And, as with the fictional blossoming red tie in "Red Harvest", the colours here are never purely or merely symbolic, signifying anything specific or narrowly defined. Instead, colour itself signifies, in its presence and appearance, variety and intensity, organization and disposition, that here we are in an original world, and seeing it differently.” Simon Baker, Director, MEP in Red Harvest, Published by Poursuite, 2019