The Time of Desire
ARTISTIC APPROACH - INTENTION
My last series in 2016-2018 is called "The Time of Desire". It combines painting, photography, graphic design and collage as means of exploring desire and its relation to time. It’s a more formal and psychological form of desire.
My intention is to find new perspectives in the true sense of the word, ie an effect of depth of the visual space. I’m inspired by different artistic movement that break with the traditional Western perspectives such as Cubism, Chinese Art, Surrealism, Dadaism, Op Art or some works of Pop Art. I want to expand perspective by multiplying the points of view and combining it with different temporalities.
The techniques express the differences in temporality and desire movements. The temporality in the photography, the painting, the collage, it is also the temporality of the creative gesture, it takes more or less time to take a picture, to draw a line, to multiply the strokes of brush, or to assemble.
My work questions the photographic discipline itself to redefine the notions of spatiality, temporality and narration. David Hockney, about painting in the 80s, asked the same question I asked myself about photography: "I said to myself: How to go beyond? It does not lead to anything."
OBJECTIVE OF CREATION
My current goal is to create superimposition and complex compositions on the same work thus offering several levels of reading. The intrigues that I construct give to see the sequence of actions, a flow of consciousness or thoughts inserted in a distended space-time, where different temporalities and perspectives are mixed.
The different pictorial techniques I use questions desire with the love codes of our time. Love affairs, seduction, waiting, daydreaming, gambling, escape, loneliness are all mentioned in filigree. These superimpositions describe the desire from different angles and reveal the psychology of the characters but also of our time. My works navigate the experiences of desire from childhood to adulthood.
Desire is a game of reciprocity as Roland Barthes means. I produce a work on the fragment. The works are flashes, mental images that describe the unconscious mechanism at work in our societies by recomposing the romantic landscape. I try to place the viewer towards what Michel Foucault describes about Edouard Manet's painting: "It forces the viewer to turn around the canvas; to change positions to finally get to see what we feel we should see, but that is not given in the picture. "
PRODUCTION OBJECTIVE AND NEW LIGHTING
My production goal is to make photography "unique" while it is normally "reproducible". Inside the serie, I make works independent of each other. I let the surface come up with their own references that follow an internal logic. Each work is self-sufficient, aesthetically and technically. Today, I have completed more than thirty works that are ready to be exhibited.
I bring a contemporary light about the desire that is timeless and universal. Desire is constantly changing, it is provoked or accidental because it is in an interaction that creates something else. My works are imprints of this desire, touches of an immense painting that shape the portrait of this feeling. After the experience of desire, it disappears but its history leaves a trace.
DEEP MOTIVATION, WHAT I AM LOOKING FOR
My deep motivation is to be seen to go further in the production of my work. I wish to create large installations to put the viewer in more active situations. The large format offers an immersion and a visual experience that I wish to develop in my next works.
I seek to be represented and find a gallery, essential element to promote my work and pursue an artistic career in a good creative context. The LensCulture contest would be for me the opportunity to help me build myself as an artist and position myself in the most favorable conditions.
ORIGINALITY OF WORK AND WHAT DISTINGUISHES ME FROM OTHER ARTISTS
The originality of my work consists of my visual writing that raises the question of the limit, including the limit of perception and exploitation of materials. I create a condensation in the same work: the spectator is more active than he was before. It allows me to be in the heart of creation, to go beyond the traditional boundaries of photography, of the relationship to the line, to no longer be locked in a conventional paper format. My work overflows in space and in the technique offering a new amplitude.
I differ from other artists in that I do not register my work in one of the many movements on contemporary photography. For example, the dogma of the Japanese school, which has a considerable influence on Black and White photography or minimalist landscapes, fashion has also created a strong path that permeates contemporary artistic photography, as well as the influence of stars and naked, architectural landscapes with abandoned spaces etc. If the styles vary inside these movements, I find that there is a predominance of the "series" in contemporary photography that relates to performance or documentary work. We must get out of the naturalist trap, what David Hockney calls "The obsession with naturalism". I wish to go beyond this classic representation.
I wish for my part to free myself from these movements to create a new work, original, where each realization contains its own ideas. I m for a "positive art" and place creation at the center of photography because it is not just having "an eye", it is also a work on paper, it is a know-how which can mixed to other techniques and it’s the ability to navigate in different spaces-times. My work is part of the tradition of visual photography and seeks to define its own contours.