You will see on this page all of my photographic work done before, during, or after periods of residences. This work of documentary photography was performed with reflex 24 * 36 or a medium format 6 * 6 In most cases it is done on film ektakrom like Fuji Superia, Any time a few black and white film Ilford HP5 or FP4 were used. All Rights Reserved
This is a series of photographs made between 1:00 am and 5:00 am covering daily distances than a dozen kilometers,daily for two years, all photographs were taken with an ektakrome film . They were made in laying slow exposure times were for each of them, of about half an hour. This photographic work was done for two years in Northern France. I decided to make a light path that would invite people to travel to places usually poorly attended, leading them through the same spaces. This journey documented by numerous photographs. My bias is therefore to provide a predetermined light path (paths because my dreams are always associated with existing light environments) or I move to my desires sandstone temporary light installations on some sites. Although this project is also to ask about the status of the city on a socio-politico-economic. True to my concerns I am the light too because where the shadow is absent, there are only flat areas, no depth, something that does not interest me. The project was subsequently the subject of black on black drawings, and in this quality contrast aimed to show what I was holding the distances traveled.The idea is to propose thereafter an unusual route into the city and set design suggests a light in some places. This photo gallery presented here is only a fragment of my work
This is a series of photographs made between 1:00 am and 5:00 am covering daily distances than a dozen kilometers,daily for two years, all photographs were taken with an ektakrome film . They were made in laying slow exposure times were for each of them, of about half an hour. This photographic work was done for two years in Northern France. I decided to make a light path that would invite people to travel to places usually poorly attended, leading them through the same spaces. This journey documented by numerous photographs. My bias is therefore to provide a predetermined light path (paths because my dreams are always associated with existing light environments) or I move to my desires sandstone temporary light installations on some sites. Although this project is also to ask about the status of the city on a socio-politico-economic. True to my concerns I am the light too because where the shadow is absent, there are only flat areas, no depth, something that does not interest me. The project was subsequently the subject of black on black drawings, and in this quality contrast aimed to show what I was holding the distances traveled.The idea is to propose thereafter an unusual route into the city and set design suggests a light in some places. This photo gallery presented here is only a fragment of my work
This is a serie of photographs made during residency in Scotland, near The Glenfiddich Industry in Dufftown and Aberdeen, all photographs were taken with a film ektakrome. They were made in laying slow exposure times were for each of them, of about half an hour. This photographic work was done after residency in Scotland and after in France. This photo gallery presented here is only a fragment. Special thanks to Andy Fairgrieve and Glenfiddich Industry
This project began in the north of France from photographic images taken by satellites on which I traced a path to my desires sandstone. Six months later, I landed at Marseilles do not know this city. I confront the reality on the ground and must change this path previously established, and I realize the obstacles both natural and manmade. Strangely it raised awareness of a historical city. On urban development too fast with choices often incomprehensible, absurd suggesting that planners are far from the thought of living together, deprived of this awareness of the city. Getting lost between benchmarks and actual topographic maps, are good ways to identify the limits of this city. Pending the passage of the card to the true reality raises puzzles, and more succite curiosities, which dissipate gradually as the journey, informed by his successive passages, his whereabouts between information, maps and documents past and present and the physical reading of the territory. Here, the card is at the heart of an approach to space in a manner quite paradoxical as it seems to refer less to a physical object as a practice.