Solo show at Francine Grunewald Gallery, Paris, from December 8, 2017 to January 29, 2018
Les fleurs, Making of, 2001-2006, 36 contact sheets, 24 x 30 cm
The contact sheets united here correspond to the preparatory work for the series Les fleurs (2001-2006). Several years after having finished this project, I decided to integrate the contact sheets to cover one wall, or only hang a few. They are witnesses of a device used for the initial project : the number of flowers that passed the casting, the numerous results obtained depending on the species and the relationship between the colors of the flowers and the background.
Plaques sensibles, 2009, series of 16 images, inkjet print, 24 x 30 cm
These boxes for photographic plates evoke the history of photography and the fantasy of a mechanical image. The lids of these reliquaries of light toy with evocations of speed, truth, perfection, sensitivity or cartographic optics in a glowing lexicon which is reflected by their jaunty graphic design.
Film rouge (Ça tourne !), 2014, video HD, sound, 2’55’’
A windmill and a ventilator. The windmill’s blades and the sound of the motor remind us of the movement of the movie camera which, in this case, has been replaced by a camcorder. The two objects start moving in a minimalistic performance, which is reminiscent of pupets, of pure color and of basic cinematographic principles.
Pop-Up, papers collage, 12 x 12,3 cm
This small collage is part of a work on paper begun in about 2007. A project that is easy to work on and which allows for the recycling of magazines, producing images that exceed our sensitive reality and letting familiar motives resurface, here, the representation of space.
Monochrome blanc, 2017, papers collage, 20 x 27 cm
In Herman Melville's Moby Dick there is a chapter titled "The Whiteness of the Whale". Here is an extract of the images and the adjectives that qualify the whiteness and thus form a new poem and, so to speak, a white literary monochrome. Moby Dick, de Herman Melville, se trouve un chapitre intitulé La blancheur de la baleine. Il s’agit ici d’un extrait des images et des adjectifs qui qualifient le blanc et la blancheur pour former un nouveau poème et, si l’on veut, un monochrome blanc littéraire.
Les pierres tombales, 2006, series of 9 photographs, inkjet print, high 80, length variable.
Dans cette série, la prise de vue adhère à la forme du sujet dont la planéité et le format prédéfinissent le cadrage. L’image prétend à un faible écart entre la représentation et son objet. La surface du marbre s’altère au contact des éléments selon un principe semblable à celui qui gouverne la photographie argentique ; un lien s’établit entre la nature de l’objet et les modalités de son enregistrement.
Collier, 2017, bones, string hanging, dia 10 cm. approx 4 1/2 meter
Le projet de ce collier a pris forme en collectant et en blanchissant des os à moelle. L’expérience en elle-même, et le collier défait de sa fonction initiale renvoient aux objets anthropologiques utilisés dans les pratiques rituelles et magiques.
