“Born in 1993 in the Dordogne, I moved to Paris to study audiovisual at the Lycée Jacques Prévert and then joined the school of the Gobelins where I graduated in 2017.
Deeply inspired by cinematic atmospheres, my work is a research on the perception of human existence, especially around reasons such as disappearance, presence or self-dispossession.
My various projects were exposed in the Promenades Photographiques de Vendôme in 2016, the Hangzhou Fine Arts Gallery (China) in 2017, the Rencontres d’Arles (Voies Off) 2017, the Côté Court (Pantin Festival) and at the FIFIB (Bordeaux) in 2018. ”
Two series presented: “Aïōō (I burn)” and “Aurora”
My approach is based on research and waiting, I used to track down presences and appearances on every street corner, every corner of the sky. My two series Aïthō (I burn) and Aurora seek to represent each in their own way a form of magic realism.
Aïthō (I burn) is a series that apprehends through volcanic landscapes what could be the disappearance of the last living beings on earth. I found myself for the first time in front of a landscape from which no form of presence could emanate, the motive of the disappearance became rather quickly obvious. I then decided to develop it in a relationship between the human presence and the emptiness of the landscape by playing on the contrasts of size and textures. In my eyes each of the stages of disappearance accumulates in a geological time separating each of the photos by several years.
My goal is not to make people understand anything through this series but to make the viewer feel what a disappearance represents. By amplifying this erasure on the scale of humanity I hope I can make the viewer see the vertigo to which I often had to confront myself.
Aurora is a series built like a photo novel, mixing reportage and fiction.
I met Laurence and Manuella when they were 15 years old and I was immediately fascinated by their strong visual presence, after several shootings I wanted to make a reportage on their basketball training. This photo reportage has changed without me saying a word in a scene of appearance. Image by image, I sought to bring out the supernatural through the vision of the twins within an urban environment. My action on the series was played a posteriori when I arranged this structured evolution with shotsandreverse shots deforming more and more the real until an enigmatic climatic climax. The use of “magical realism” in my photographs is a poetic way to gently introduce a deep existential questioning that fascinates me (as much as it terrifies me) on the impalpable nature of reality.