This series is particularly close to my heart, because it corresponds
fully to my approach: to leave the framework to return, by changing the
angle of looking, to see beyond that, further and nearer.
At the time
of these shoots, it is the unexpected, the chance and finally, the capture
of certain combinations of realities which we do not notice. Sometimes
this discreet dance makes it possible to merge with the place or people,
to enter their intimacy, without mugging them.
Then, the
image is successful when it retranscribes this moment. It is particular,
if it transmits the emotion and if there is a meeting, fortuitous, the
one moment space with other sensitivities.
By the reflections, in the city, in particular, I recompose this daily
reality to introduce a certain poetry, dream.
Photographing, it is a little like holding a log book. It is an often
interior voyage, daily, sometimes about the others, the anonymities or
the close relations.
Photographing, it is also to try to stop time, to collect the fugitive
moment, to catch it within the framework of the camera.
In my work, that I do not consider as such, I seek a certain magic of
the moment: the meeting of the spirit, the eye and the heart. Certain
shoots give me a kind of excitation at the catch, of which I share, afterwards,
the emotion with others, when there is meeting.
The rigour of the framework is comforting; it is not me who is there,
it is the camera which watches, hunts and shoots. I am then a witness,
including of myself, in a fixed posture or moving, always watching, trying
to melt me in the settings.
Sometimes, the magic operates, when finally, I catch the curiosity, the
interrogation or even complicity of the moment. I am then a robber of
images, fugacious moments which I try to catch within the framework, for
me only, initially.
I explore also other ways, more graphic, sometimes abstract. The process
is different, I create a reality that I recompose thereafter. It is at
the same time a process of unstructuring and recombining of my reality.
I would like to approach nude the same way.
I like to catch a different reality, the one which is there in front of
my eyes.
About technique :
I do not like the technique in photography. This is why I came to digital,
after having done some video. I like this practical aspect, fast which
releases from the time constraints. I attach much importance to the original
catch and prohibit to me, for the moment, any realignment or improves
(except light and contrast), of which the effects appear to me often futile
and anecdotic.
Some photographers whose work touches me:
Henri Cartier Bresson, for his rigour;
Araki, for his freedom and his composites;
Rafael Navarro, for his esthetism;
Nan Goldin, for her talents of storyteller;
Man Ray, for certain shoots;
Duane Michals, for his research;
Laszlo Moholy-Nagy, for his geometry;
Alain Fleischer, for his paradoxes.
About
photography:
