English
2024
ElémenTerre
The Call of Nature
When I moved to Dives-sur-Mer in Normandy, I was immediately fascinated by the changing seascapes and the abstract lines that delineate the four elements of our planet: earth (the beach), water (the sea), air (the sky), and fire (the sun). Depending on the tides and seasons, nature constantly reminded me of its majestic beauty, its ecological fragility, and its destructive power. A mysterious force compelled me almost daily to take dozens of photographs with my old iPhone on the Cabourg promenade, almost always in the same spot. An obsession with the instantaneous; my smartphone allowed me the freedom of mobility compared to professional equipment and delivered a poetic “imperfect” rendering, more or less pixelated and blurred. At first, I didn't want any human presence, for the sake of abstraction, of pure visual emotion: the opposite of the human intimacy of my films, filling the entire image. And, little by little, I found it interesting to detect in my landscapes an element or a group of human or animal elements, lost in the immensity of nature.
When I moved to Dives-sur-Mer in Normandy, I was immediately fascinated by the changing seascapes and the abstract lines that delineate the four elements of our planet: earth (the beach), water (the sea), air (the sky), and fire (the sun). Depending on the tides and seasons, nature constantly reminded me of its majestic beauty, its ecological fragility, and its destructive power. A mysterious force compelled me almost daily to take dozens of photographs with my old iPhone on the Cabourg promenade, almost always in the same spot. An obsession with the instantaneous; my smartphone allowed me the freedom of mobility compared to professional equipment and delivered a poetic “imperfect” rendering, more or less pixelated and blurred. At first, I didn't want any human presence, for the sake of abstraction, of pure visual emotion: the opposite of the human intimacy of my films, filling the entire image. And, little by little, I found it interesting to detect in my landscapes an element or a group of human or animal elements, lost in the immensity of nature.
Art as a game
Today, I approach the world of art through “play,” so that future buyers of my work can interact with my work as a visual artist and photographer. My first series of works, ElémenTerre, II and III, seascapes, are photo-sculptures composed of magnetic aluminum plates on several interchangeable supports.
I push the saturation of flat colors to offer a glimpse of another reality, a “surreality.”
By dividing my photographs into several parts, I deconstruct my horizontal vision as a filmmaker to create vertical still images, metaphors for photographs taken by smartphones and shared on social media.
A reflection on the changing perception of the frame in the 21st century.
Today, I approach the world of art through “play,” so that future buyers of my work can interact with my work as a visual artist and photographer. My first series of works, ElémenTerre, II and III, seascapes, are photo-sculptures composed of magnetic aluminum plates on several interchangeable supports.
I push the saturation of flat colors to offer a glimpse of another reality, a “surreality.”
By dividing my photographs into several parts, I deconstruct my horizontal vision as a filmmaker to create vertical still images, metaphors for photographs taken by smartphones and shared on social media.
A reflection on the changing perception of the frame in the 21st century.