I was born the year of the 20th anniversary of my mother. My father was a miller. Facing the ocean in a country of winds, freshwater and chalk. At the 12 years old, it offers me my first camera (a Agfa Instamatic). The age of 14 older boys drag me to form a "Photo Club".
I've never stopped doing photography. I now have more than half a century of existence ...
Libertarian, conscientious objector I prepared my tank in the forest and I succeed while I have already 3-month-old child. I went up higher studies (clinical psychopathology (doctorate) and followed the teachings of philosophy and art history). Partly self-taught in photography.
It must be very linked to me to the genesis, death anxiety, phobia of loss: I became a compulsive photographer at the time of the birth of my first child. I have never ceased.
(... Oh, and then very timid teenager (almost autistic) this allowed me to approach girls),
I reveal here that it is a medium, closely linked to desire. Absolutely.
To pay for my studies, earn a little my life I have much photographed jazz musicians (another passion), boxing, dance ...
I have just to confess at the moment. It is a privileged medium, to try to represent desire. This is a contra-phobic activity.
The human being in his elusive dimension, incomprehensible. The dimension of the human language. Beauty. I say beauty because I've never been able to photograph or keep an image of something horrible or degraded / degrading. The light. The sound of light obsesses me, the vibrant beauty. What is simple. Naked.
I would like my images to calm. To question but smoothly. I often say that I would like my images to be received as a music of Bach, Miles Davis ...
An eye desire. Sensuality is ... a mystery. It has to do with light, purety in the details.
Very young I was very influenced by Raymond Depardon. He taught me how to frame, to refine. Then Richard Avedon and Peter Lindbergh. Paolo Roversi fascinates me literally.
All pre-exists within me before ... but in draft stage, impressions sometimes phrases readings ... I absolutely have to meet before any session the person with whom I will work. I give very little indication and so I collect what is given to me in the hiatus of what has been understood or not by the model. I find that I collect then what is given to me.
I always used a Nikon for 24X36. In medium format a Mamyia. Different Polaroid.
I started very late the digital (this has been then accompanied by my discovery of the color). But I work as in argentic. I never look at my photos on screen during a session. Later, when I return to the world ... My sessions are brief, they exhaust me although I work in quiet.
My work has evolved mainly by meandering taken: the events of life itself, ridding me of dross too intellectualized. And above all, the study of painting and assiduous reading a lot of poetry.
At first really suspicious of this medium I could not do without. It helped me like no other media could not before to share my work and know and talk with many artists and people of this world, Yet I remain very lazy to work there (website, etc. ..).
The sharing and to be amazed by other approaches than mine. The encounter with "the image we might have liked to make." This happened to me on SP.
My encounters dictate them. My anxieties nurture them. My readings accompany them.
That it does not stop ...
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