Cellar dweller: photographer Erwin Olaf immerses himself in the house of Ruinart

Ruinart Frieze
Champagne house Ruinart enlisted Dutch photographer Erwin Olaf to create a body of work commemorating 120 years of artistic collaborations. Pictured: his images were shown at a dedicated champagne bar during Frieze Masters.
(Image credit: Marius W Hansen)

Champagne house Ruinart has been collaborating with artists and designers for a few years, joining forces with creative talent to bring to life the inspiration and history behind their products. After working with Maarten Baas, Hervé Van der Straeten, Nendo and Piet Hein Eek – among others – the company enlisted Dutch photographer Erwin Olaf to create a body of work which adorned a dedicated champagne bar during Frieze Masters. The photographer immersed himself in the house of Ruinart, and was invited to create an expressive oeuvre that embodies the spirit of Ruinart and celebrates the 120th anniversary of their first collaboration, with Czech artist Alphonse Mucha in 1896.

Better known for his sleek, staged and intricately produced images, Olaf’s initial idea was more in line with his extant work, but a visit to the company’s cellars changed his mind, he explains. ‘When I was in the cellars, I noticed something I had not seen before: there were drawings, signs of nature, signatures carved in the stone, machines, bottles, so I started to photograph these elements, isolate them.’ Olaf drew from his journalistic background and produced a series of black and white images that highlight these traces of human life.

Light and dark dichotomy

Olaf sees a strong connection between the light and dark dichotomy of photography with what Ruinart does.

(Image credit: Marius W Hansen)

‘I returned five times into the cellars,’ says Olaf, who created the work over the course of two years, ‘each time isolating pieces, looking for references.’ Soon he found that these anonymous traces had similarities with modern and contemporary art: a series of bottle racks resembled works created by the Zero movement; other shadows on the walls (or imprecisions in the plaster), once captured reminded him of Rothko, Seurat or Damien Hirst. The collection of images is as much an exploration of his own approach as a photographer as it is a testimony of time and human passage in the Ruinart cellars. ‘I had to explore myself as well, because this was something I had never made before – [to] take a piece of wall, photograph it. I would say that is the closest I could come to my own art.’

For champagne, this is a radically different approach; a drink that is so much about light, universally thought of as gold and sparkly, is identified via a series of moody, dark images. ‘The vineyards are about light, the cellars are about darkness,’ explains Olaf, who sees a strong connection between the light and dark dichotomy of photography with what Ruinart does. ‘Photos, like champagne,' he concludes, 'need darkness to find light.’

Ruinart's cellars

Descending into Ruinart's cellars, Olaf drew from his journalistic background to produce a series of black and white images that highlight traces of human life

(Image credit: Marius W Hansen)

Ruinart Light

‘I returned five times into the cellars,’ says Olaf, who created the work over the course of two years, ‘each time isolating pieces, looking for references’.

(Image credit: Erwin Olaf)

Ruinart Light

The collection of images is as much an exploration of his own approach as a photographer as it is a testimony of time and human passage in the cellars

(Image credit: press)

Ruinart Frieze

‘I had to explore myself as well, because this was something I had never made before – [to] take a piece of wall, photograph it,' says Olaf. 'I would say that is the closest I could come to my own art’

(Image credit: press)

INFORMATION

For more information, visit the Ruinart website

Rosa Bertoli was born in Udine, Italy, and now lives in London. Since 2014, she has been the Design Editor of Wallpaper*, where she oversees design content for the print and online editions, as well as special editorial projects. Through her role at Wallpaper*, she has written extensively about all areas of design. Rosa has been speaker and moderator for various design talks and conferences including London Craft Week, Maison & Objet, The Italian Cultural Institute (London), Clippings, Zaha Hadid Design, Kartell and Frieze Art Fair. Rosa has been on judging panels for the Chart Architecture Award, the Dutch Design Awards and the DesignGuild Marks. She has written for numerous English and Italian language publications, and worked as a content and communication consultant for fashion and design brands.