Series of photographs.
The long obturation photographs at night with camera movements produce drawings, often very aesthetic visual universe, because of the continuity of the lines thus formed, which produce a visual “automatic” almost harmony. We can judge this type of photography “easy” or formalist because not at all based on social experience, or psychological or symbolic...
In fact, they are simply contemplative photographs, offering a sensory experience in which we must choose to open. This is not a form of narration that suggesting is a form of contemplation of the complexity of the world, that the movement in this case, lights in the sky and the camera can create forms evocative of something else that the imitation of reality as perceived without photography.
In this sense, it is like a kind of mechanical subjectivity, possibly disturbing, because questioning the human “author”, which is then explicitly a passageway between the movement of the world and its expression frozen by the mechanical device.
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.