For a few months at the end of 2010, I am committed to photographing cameras to observe the machines through which we observed in our knowledge everywhere and all the time. This has produced this series of 52 photographs.
One can find a certain aesthetic of these objects, which have the function to be seen, which is monitored know, but must also be discreet.
I stayed in public places and places of traffic, especially small stations daily trips.
The attachment system of these devices is rather surprising, and I worked the architectural dimension of their place in a space that is abstract because of their presence. And because the original plastic character of each camera, its unique positioning, reflecting a way of looking at one too, each of them seems to take the character of a character, with his attitude, his experience, his story and look at the world clean. Some are a striking anthropomorphism.
Because of the mechanical nature of its technical function, photography is for me a matter of time rather than a visual matter : in its silver salts, or its pixels today, it is time which is captured, preserved, reinvented at every glance. Time of life, time of vision, time of poetry.
Painting is the original material of plastic work, which is intimately connected with photography, because it also contains the time of its gesture and its imagination.
Artistic installation, the existence in space and time of artistic forms is crucial because it is the way in which the work is modified by its relation to the spectator.
These practices interact with my work as a filmmaker, have always intermingled.