Sans titre (Poteau électrique)
Les photographies de cette série portent sur la nature du visible et de notre
relation au monde, ainsi que sur l’espace et la matière comme conditions d’apparaitre à la fois
concrètes et fragiles. Au seuil de ces images se révèle l’ambiguïté de ce qui est donné à voir. C’est ainsi, sur la base de notre rapport à
l’espace et à la matière, organique, minérale, concrète ou transparente, à la fois brute, poreuse et
fugitive, dans ses qualités physiques et génératives aussi, que se construit notre expérience du
monde qui nous entoure. Dans mes intérêts de création s’exprime donc un certain désir, telle une
quête, à appréhender l’espace et la matière au plus près, selon une approche post-anthropocentriste et à l’abri de la signification. Ce projet s’inscrit dans un
mode descriptif de représentation qui se veut réceptif à l’apparaître des choses, de manière à
révéler la premièreté de l’expérience du visible selon une méthode ou une sorte de rituel, ou encore un mode de réception « lente », qui a pour objet de
mettre en suspend tout aprioris au profit d’un mode d’appréhension propice à la découverte et au
renouvellement de ce qui se présente à soi. Elles mettent aussi en évidence la nature de l’expérience photographique qui ramène constamment le regard à la surface de l’image comme premièreté, spatiale, redondante et qui relève à la fois du familier et de l’étranger dans l’expérience du visible.
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The photographs presented in this exhibition explore the nature of the visible and our relationship to the world, as well as with space and matter as conditions of appearing at once concrete and fragile. At the threshold of these images, the ambiguity of what is given to be seen is revealed. Thus, it is on the basis of our relationship to space and matter, whether organic, mineral and concrete or transparent, at once raw, porous and fugitive, in its physical and generative qualities too, that our experience of the world takes place. In my creative interests, then, there is a certain desire, like a quest, to apprehend space and matter as closely as possible, in a post-anthropocentric and meaning-free way. This project is part of a descriptive mode of representation that is receptive to the things as they appear, in order to reveal the primary visual awareness of the experience, according to a method or a sort of ritual, or again a mode of “slow” reception, which aims to suspend any preconceptions in favor of a mode of apprehension conducive to the discovery and renewal. They also highlight the nature of the photographic experience, which constantly brings the gaze back to the surface of the image as primary, spatial and redundant, and as both familiar and foreign in the experience of the visible.
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The photographs presented in this exhibition explore the nature of the visible and our relationship to the world, as well as with space and matter as conditions of appearing at once concrete and fragile. At the threshold of these images, the ambiguity of what is given to be seen is revealed. Thus, it is on the basis of our relationship to space and matter, whether organic, mineral and concrete or transparent, at once raw, porous and fugitive, in its physical and generative qualities too, that our experience of the world takes place. In my creative interests, then, there is a certain desire, like a quest, to apprehend space and matter as closely as possible, in a post-anthropocentric and meaning-free way. This project is part of a descriptive mode of representation that is receptive to the things as they appear, in order to reveal the primary visual awareness of the experience, according to a method or a sort of ritual, or again a mode of “slow” reception, which aims to suspend any preconceptions in favor of a mode of apprehension conducive to the discovery and renewal. They also highlight the nature of the photographic experience, which constantly brings the gaze back to the surface of the image as primary, spatial and redundant, and as both familiar and foreign in the experience of the visible.
