… With nudes, the black background allows me to go to the closest composition with the model, getting rid of artifices and anecdote … It gives a very direct reading of the image, which causes the emotion … Everything is done so that in the end, there is only the body. It is the depth that attracts me, I like the black, the density of deep black in which we can forget ourselves and dream.
The CARBON title became essential because it works well with the nudes and with the landscapes. My landscapes are mostly urban, there is always something reminiscence of the city, the suburbs, The word carbon also evokes the lead of the pencil, the practice of drawing, graphics. The flat black tint I use for my nudes remind of painting.
My images suggest emotions rather than stories …
… I always start with a portrait because I need to get acquainted before asking the model to undress … I talk a lot with my models, I’m very curious, I like to know their story. The stories are sometimes very surprising, painful, hard.
… Once the time of the portrait passes, we both have to have fun, first to step away from the sexual side of the nude and also to have emulation in the search for attitudes and poses. I like the word laughing because it refers to children’s game …
In CARBONE, I wanted to build a resonance between nudes and landscapes, as an invitation to an inner journey, in the continuity of Insomnia, but with greater intensity.
