I met my first pictures when I was fourteen, in a pack of magazines on sale. The Jeanloup Sieff "Death Valley" and a bus of black people by Bill Brandt were showing me one thing : there is a gap between the subject photographied and the photograph, and it is in this gap that photographer can build the meaning of his pictures. May be the one who builds this meaning can be called an artist.
That was a revelation, indeed, but I was young and I did not know how to do: around me, every one was frightened by the words "Death Valley" or involved in long speach about apartheid. They did not saw the pictures. So I borrowed other roads, as a teacher for young children, then for olders after studies of philosophy.
Photography and philosophy work together. That is I will not be a photographer if I don't manage the gap, if I try to close it with a definite subject, for example, even with my own "I" as a closed identity; and also a philosophy becomes a dogmatism if it does not respect the gap between the thought and the things.
So, I went back from philosophy to photography, first, with a PhD about the esthetics of photographs in the field of contemporary art. I wrote books, gave lectures, and finally, I began to make my own pictures.
I try to find my photographic aesthetic, to manage the gap in a way that will be mine, even if I don't know clearly who I am as a photographer. My pictures are something like an introspection, but thrown to the world. So I build my self as a corpus of pictures with an only certitude : I am not the first and my photographs have to inherit and continue some of the many histories of photography and art which inhabit now my gaze.
I hope they will be new seeds for new pictures which will germinate from the ground of our memories.