MY ARTISTIC APPROACH

The two principal points that I decide to put forward are those that permit me to define my approach.
This in the form of a comparison and a reflection on my way of conceiving my photography.

First, it is the need of putting forward the moments discerned by a globality as insignificant or negligible. In my approach, my wish is always to deal with marginal subjects. Be they set aside because they are taboo or outdated, these themes have for me a primordial importance in everyone’s personality and should not be underestimated.

A smile in the street, an instant of introspection or the sickness of a parent are events that mould the person that we are, as much as our reactions or our choices when we face them. The decision to take them up is not necessarily astonishing or shameful, it will probably not change much, but it allows us and others to find ourselves in the expression of the examples and to again reflect upon moments of life that are forgotten too rapidly.

Second, the substantial and esthetic comparison between audiovisual media and everyone’s life. We are exposed every day to hundreds of images, to commercials, films and series.

All these media send us a more or less realistic reflection of our society. Our convictions are without pause questioned by examples of life, which sometimes are tangible. Until the fateful moment when our only referent becomes the fiction of reality, during this time the factuality is affected and would appear almost dull and bland next to its illusion.

This common desire brings us to question the relevance of the real in photography. Would a subject, which is real but illustrated in a factitious way, be more accessible and appealing for the public? Isn’t it said that the imaginary is sometimes more real than the real?

The appeal of staging is also the appeal of the imaginary and stays, in my opinion, intimately linked to our childhood. The cinematographic aspect, as says Philip-Lorca diCorcia, is not necessarily intentional, but it refers to certain inescapable esthetic codes.

Thus it may be appropriate to ask the question of estheticism and documentary (in the broad sense of the term), which still today is controversial: does the estheticism allow to digest reality more easily? In my case, I have the rigor of leaving a large place to the context, but making it “too perfect” to let it seem totally real.

The touch-up and the presence of mixed lighting add a fictional and clearly illusory aspect.