“In the first place, my work was fed with the world of childhood, with some sort of buried memory where reality and fiction are becoming confused, even merge somehow, a world in which things don’t even have a name yet. I remember stories which could have existed, stories in which the truth is dangerously flirting with the false, all together serious and absurd, amusing and disquieting, past or future.
I choose the material, in a narrative and aesthetic purpose, which will enable me to build a story, a narration. It can be places, situations, people that I use as clues, some alibi to compose and create a scene, to embody some imagined situation, between the fiction and the document as always.
In the second place, I organize my stories like accidents, waiting for an ending that never comes. It is then up to the watcher to guess, thanks to his own thoughts and imagination, to rebuild and reconstitute the story he had imaged. The whole performance suggests a coherent story. It is the structured composition of my images, in which each part is in close relation with the whole, that partakes of this intention. The second glance often makes things lose their obvious nature and insertion.
It is in this perspective that I favor large format color prints, making high detailed image processing possible, in order to restore a scale ratio in which the singular experiences the general.
What I also find extremely appealing is the aesthetic world of science, machines, geometric patterns. A huge part of my inspiration is to be found in Stanley Kubrick’s 2001: A Space Odyssey and Andrei Tarkovsky’s Solaris. Personally, I see them as two sides of the same coin.
Gradually, scientific and technological utopias have enriched my work. Whether belonging to some past memory, such as Brasilia, or representing some projection of the future, such as the improved version of the living, these utopias share a common dream. These impossible places enable us to imagine the extreme and the unforeseeable as new starting points. They create a breaking point, opening up the horizon of the multiple.”
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