The lessons of darkness
During my travels, I began to work on sacred religious art. A look that I take on objects, places of churches captured in different cities of France, Italy and Spain. An encounter between aesthetics and documentary gaze.
Aesthetic : I essentially soak up the light (natural and artificial) and with the help of black and white — a deliberate and recurring choice — and my framing, which always calls for the off-screen, I propose a photographic atmosphere that refers to the cinema of the early days (Soviet cinema of the Constructivist era, German expressionism).
Documentary : Perspective. The one worn by a photographer in the twenty-first century who revisits these traces of the sacred, tracks down the memory of men and places, with my sensitivity, my photographic and cinematographic culture, my Judeo-Christian education and my training as a historian.
The title of this series refers both to the 1986 work of the visual artist Christian Boltanski, which is part of a relationship to memory, and to the dramatic motets written in the eighteenth century by François Couperin.
My photographic act wants to solicit imagination and emotion.
