My approach is not where the classical photographer will seek to offer a faithful representation of reality, but on the contrary I am the plastic artist who manipulates space and subjects. Plastic photography is thus its own subject, the search for the aesthetics of the image that takes precedence over the quest for the real. Plastic photography is to practice a practice of photography that is far removed from the original forms that are documentary photography, reporting or portraiture.
My photograph is borrowed from an assumed slowness, an immoderate taste for observation, an interest for simplicity and for exigency. It is necessary to walk, to look, to feel, to capture, to show, to retranscribe. Photography teaches us to observe man in relation to his rural or urban environment, to society, to the other.
The photographic series on the city of Pau connects the history of photography in a fascinating way with my photographic work on the movement. In the era of sharp images and high definition, I chose to take the opposite path with my digital camera, that of the moving image, the movement and the accentuation of the failure. This technique, once called pictorial, then futuristic and now kinetic, allows to express a continuous time. The vignetting allows to close the reading of the image, but also to accentuate the effect of the dark camera that the principle is described by Aristotle.
My concept here is to take a moving subject in the scene, so, the image I make, visualize the integration of all positions of that subject during the pose time. I get a fuzzy object on the photographic proof, which may be in the form of an almost ghostly image formation or duplication. The effect is caused by movements between photography, object and scene. The photographic image that I leave, the car is the human man perceives these movements in the same way. When all is clear a picture that represents a bird that flies, gives the impression of being suspended in the air. The result is strange because our eyes are accustomed to see blurry. Kinetic blur is an effect I seek to communicate the sensation of movement and speed.
I come into resonance with my subject, I let myself invade and use my camera as a sensor to try to give to see the impalpable. To perceive an agitation of the subject and render it by the test into a turbid object. Emerge the veiled animations of the real into a single image that expresses the movement. I want to offer the perception of another life, a pause in time to stop. A shake, a blur, that little nothing that we find on photographic paper of silver or pixels.
With the effect of blur, on can no longer speak of photography to the Greek definition, where it is dictated by the writing of the light, on only records the image of an object. But for a Latin hypothesis or proposition where photography can be described as "a revealed image, output, assembled, experienced by the action of light."1° All that a photographer must master experimentally and technically to transcend a photographic proof into a work.
1°- Roland Barthes, La chambre Claire, "It appears that in Latin photography would say: imago lucis opera expressa", Described from the French text:
Roland Barthes, La chambre Claire, « Il paraît qu’en latin photographie se dirait : imago lucis opéra expressa », p.127.
“Pau, la ville d'Henri IV - 2017”
“Pau, la ville d'Henri IV - 2017”
“Pau, la ville d'Henri IV - 2017”
“Pau, la ville d'Henri IV - 2017”
“Pau, la ville d'Henri IV - 2017”
“Pau, la ville d'Henri IV - 2015”
“Pau, la ville d'Henri IV - 2015”
“Pau, la ville d'Henri IV - 2015”
“Pau, la ville d'Henri IV - 2015”
“Pau, la ville d'Henri IV - 2015”
“Pau, la ville d'Henri IV - 2015”
“Pau, la ville d'Henri IV - 2015”
“Pau, la ville d'Henri IV - 2014”
“Pau, la ville d'Henri IV - 2014”
“Pau, la ville d'Henri IV - 2014”
“Pau, la ville d'Henri IV - 2014”
“Pau, la ville d'Henri IV - 2014”
“Pau, la ville d'Henri IV - 2014”
“Pau, la ville d'Henri IV - 2014”
“Pau, la ville d'Henri IV - 2014”
