I work by series, I have defined successive phases.
Currently, my technique is exclusively digital. My photographic bases come from a smartphone. I do not use any high-flying digital optics, it makes no sense for the rest of my work; The smartphone is the snapshot of the 21st century and represents an unprecedented impact on how one perceives – or consumes – the image.
After my shootings, I take advantage of digital technologies that I divert; I experience extreme distortions without ever knowing how far it will lead me, except that I try at all times to destruct my raw material, resulting from the everyday reality. The framing of my subject, light and the backgrounds are the only tools of composition I can rely on.
A subject becomes one as soon as it gives me a glimpse of potential re-construction. My digital snapshots are a simple starting point for the new reality that I will insert in my formats.
About digital techniques.
By definition, digital techniques are governed by totally rigid mathematical algorithms and calculations. A computer producing an exact result, one can think of a digital creation devoid of life, freezing and predictable: I circumvent this limit by considering the smallest unity of the digital image, which I agglomerate then deform according to my intuition; Thus, I take advantage of a geometric pointillism technically imposed but totally deformable.
Colors, Geometry and Scales.
From inception, Theories of the Color by Johannes Itten are an essential base for my approach of the color. Contrasts and colors are ingredients that make it possible to modify the perception of the world: all combinations are possible and there is only the filter of my appreciation / intuition to accept them … or destroy them forever. I enjoy a freedom almost disconcerting: the experimentation of color is limitless.
Geometry is present on a large part of my formats: symbols, fractal shapes and networks can be duplicated to infinity. The mirrored duplications are also perfectly adapted to this new reality that I am trying to create.
Infinitesimal and infinitely big are only one reality, both reflected: are the atomic, cellular or stellar distances not comparable? My work establishes a parallel between cell, atom and pixel and I do think that the smallest unit can include Creation as a whole.
Symmetries, networks, labyrinths | Perception.
I strive to secure some spectators proposing symmetries, or at least a series of axes enabling them to cling to a certain visual reality; in Textured series, some inventions consist of intricate networks and labyrinths: one can enter it but one does not get out of it. An astonishing observation is then necessary: if our senses and our understanding have a limit, one is nevertheless able to create beyond the perception. This represents a satisfactory definition of Art.
If symmetries and duplications appear quite clearly in the geometries I propose, I do not want them to impose static images: colors and contrasts amplify the movement of my creations, it is a fundamental point of my work. Moreover, some of my images retain realistic elements, one can recognize or interpret everyday things: one sees them, understands them, but distortion modifies their reality.
What I create does not exist, at least in our confined reality.
My blurred photographic re-compositions (Blurred Monuments) include an additional feature: physical distance to format. Perception is modified according to the spatial position in relation to the image. Ten meters: the subject is fully captured; five meters: eye focuses on the rhythms of shades that compose the subject; one meter: one perceives only thin clouds of points. A few centimeters closer, one is immersed in a myriad of sharp points, aggregated in variable masses: one is at the heart of the subject but can not perceive it as a whole. This visual search imposed the monumental dimension of some of my photographic re-compositions, notably Les Inquisitrices.
When using blur, I follow another objective: to offer a freedom to the viewer, not to impose on him a ready-made, simply observable reality.
I invite the spectator to recreate a part of the image following his own sensitivity.
I wanted to revisit classicism through my recent series Aphrodites and Kouros by destructuring these original icons. However, I do not distort them, I propose simply another reality — perhaps iconoclastic — in the manner of Gerhard Richter who proposed a contemporary alternative to the genres of the portrait and the nude, where blur holds an important place.
My images do not procrastinate, my themes are simple, at the crossing of a personal reality and an amazing experiment that pushes the eye into its entrenchments.