"The impact of the internet and digital environments on our daily lives has increased since the beginning of the sanitary crisis. Our experience of external realities has been eroded while being mediated more by luminous screens, whether sedentary or nomadic. This particular situation of confinement and alteration has led me to question the substance of my daily life through photographic practice"
The impact of the internet and digital environments on our daily lives has increased since the beginning of the sanitary crisis. Our experience of external realities has been eroded while being mediated more by luminous screens, whether sedentary or nomadic. This particular situation of confinement and alteration led me to question the substance of my daily life through photographic practice.
The first movement in my research was to think of light as the photographer's raw material, whether through the capture of lumino-electric intensities for digital or lumino-chemical for film. It draws shapes and surfaces, reveals colours and contrasts while reacting to movements and atmospheric variations. But the production of light is also one of the common characteristics of the various screens that run through our lives and modify our relationship to the sensitive world. Through the camera, I therefore sought to explore how these screen lights intermingle with the different environments in which we are immersed, as well as with our imagination.
For this research, the indeterminacy of the images produced, the tension between the recognition of patterns and their abstraction, was more a method than a finality. This strategy, by renouncing total control over the image, has made it possible on the one hand to break with the automatisms of vision that mechanise our interactions with the machines of reproduction of the visible, and on the other hand to bring out new potentialities, new representations of the visible, in which asperities are brought to the fore. This harshness of the surface is also the mark of a violent struggle between the process of digitisation inherent in my camera and the resistance of concrete elements to their transformation into numbers, then into pixels.
The titles of the individual photographs refer to the processes of mutation found in the life of an insect. This metaphor thus weaves the thread of a dynamic world of invisible metamorphoses.
