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Versus Dystopia
Read the text | Diaporama | Back to gallery

  • Homme venant soutenir le pied d'un autre étendu sur le sable
  • DETAIL
  • Hommes déchus sur des tas de feuilles mortes
  • DETAIL
  • Hommes sortant des marais et regardant vers la droite
  • DETAIL
  • Homme debout devant un animal mort
  • DETAIL
  • Hommes chutant près de marais salants
  • DETAIL
  • Homme penché au-dessus d'un autre agenouillé
  • DETAIL
  • Homme seul à l'aube
  • DETAIL
  • Hommes dans un champ en feu avec pierres
  • DETAIL
  • Hommes regardant vers la gauche
  • DETAIL
  • Homme seul debout sur une voiture
  • DETAIL
  • Hommes debout dans un rai de fumée
  • DETAIL
  • Homme fumant une cigarette
  • DETAIL
  • Hommes sortant des marais à l'aube
  • DETAIL
  • Homme marchant de dos
  • DETAIL
  • Homme au bras tendu
  • DETAIL

  • New creation in progress of 32 photographs.

    Set of silver color photographs in medium format (6X6).

    Sizes and process:

    LANDSCAPES: H 39 X L 39 inches.

    Giclee process on Hahnemühle PhotoRag 308g Fine Art paper mounted on museum aluminum Dibond, fitted with an aluminium chassis.

    DETAILS: H 12 X L 12 inches, Giclee process on Hahnemühle PhotoRag 308g Fine Art paper mounted on Dibond, American box frame, H 16 X L 16 inches.

    Limited edition of 5.

     

    Versus Dystopia or the Poetics of Uncertainty, is a research on Men and faith.

     

    It opposes the idea of ​​a counter-utopia. It nourishes the hope that when something serious, something that defies understanding happens, Man* rises to a higher form of humanity and awakens to the sublime reality of solidarity.

    Taoism teaches that when habits can no longer continue, one must follow a path of extraordinary behaviour. One has to "cross the great river". In Chinese philosophy one must confront uncertain waters to reach new shores.

    Dystopia depicts an imaginary society, a society organised in such a way as to prevent its members from achieving happiness. To the point of becoming a utopia that turns into a nightmare. The current trend is to endlessly repeat that the world is ill, that our planet is dying, that our civilisation is decadent, that humans are cowards or worse, traitors. I felt that it was important to create Versus Dystopia.

    Water has always been essential in my photographic work. Since Esquives (2002-2003) and Nocturnes (2007), I have never ceased finding my various heroes flooded, submerged, floating or drowned inside wet landscapes, marshes, lakes and rivers, the title itself of my series Mem (2009) represents in its Hebrew meaning both gushing and underground waters. 

    Once again, in Versus Dystopia, I lead the spectator towards water, towards my adopted land, where I will act and photograph the dawns of the Camargue marshland. During the few minutes of sunrise, between the lake of Vaccarès, salt marshes, Arlesian moss covered railtracks, the beach of Piémanson, Salin de Giraud and rice fields. I catch the fragility of a light, of an ephemeral colour. Dawn offers us a poetics of uncertainty. 

    I often like to believe that uncertainty is what makes us the most human, humbly human. 

    I spent months searching for my heroes, to cast them as new martyrs. I found in Michel Rostain and Sebastien Abot, one a writer, the other a painter, embodiments of a gleaner and a prophet who walk together, rise together, help each other or meet again. I imagined them and photographed them in the poses of a St. Christopher of the Venetian school, a Sisyphus of Titian, a Pieta of William Bouguereau etc. 

    These two men have in turn embodied heroes of a Christian iconography, without ever meeting during the shoots, since each photograph is totally reconstructed as a photomontage. As in art books, I also extracted from each representation, a detail, that becomes itself an image.

    * "Man" is used, not in a restrictive manner, but as the ancient shortcut for "Humanity".

    Versus Dystopia
    Read the text | Back to gallery

    Homme venant soutenir le pied d'un autre étendu sur le sable
    Homme venant soutenir le pied d'un autre étendu sur le sable
    DETAIL
    DETAIL
    Hommes déchus sur des tas de feuilles mortes
    Hommes déchus sur des tas de feuilles mortes
    DETAIL
    DETAIL
    Hommes sortant des marais et regardant vers la droite
    Hommes sortant des marais et regardant vers la droite
    DETAIL
    DETAIL
    Homme debout devant un animal mort
    Homme debout devant un animal mort
    DETAIL
    DETAIL
    Hommes chutant près de marais salants
    Hommes chutant près de marais salants
    DETAIL
    DETAIL
    Homme penché au-dessus d'un autre agenouillé
    Homme penché au-dessus d'un autre agenouillé
    DETAIL
    DETAIL
    Homme seul à l'aube
    Homme seul à l'aube
    DETAIL
    DETAIL
    Hommes dans un champ en feu avec pierres
    Hommes dans un champ en feu avec pierres
    DETAIL
    DETAIL
    Hommes regardant vers la gauche
    Hommes regardant vers la gauche
    DETAIL
    DETAIL
    Homme seul debout sur une voiture
    Homme seul debout sur une voiture
    DETAIL
    DETAIL
    Hommes debout dans un rai de fumée
    Hommes debout dans un rai de fumée
    DETAIL
    DETAIL
    Homme fumant une cigarette
    Homme fumant une cigarette
    DETAIL
    DETAIL
    Hommes sortant des marais à l'aube
    Hommes sortant des marais à l'aube
    DETAIL
    DETAIL
    Homme marchant de dos
    Homme marchant de dos
    DETAIL
    DETAIL
    Homme au bras tendu
    Homme au bras tendu
    DETAIL
    DETAIL

    New creation in progress of 32 photographs.

    Set of silver color photographs in medium format (6X6).

    Sizes and process:

    LANDSCAPES: H 39 X L 39 inches.

    Giclee process on Hahnemühle PhotoRag 308g Fine Art paper mounted on museum aluminum Dibond, fitted with an aluminium chassis.

    DETAILS: H 12 X L 12 inches, Giclee process on Hahnemühle PhotoRag 308g Fine Art paper mounted on Dibond, American box frame, H 16 X L 16 inches.

    Limited edition of 5.

     

    Versus Dystopia or the Poetics of Uncertainty, is a research on Men and faith.

     

    It opposes the idea of ​​a counter-utopia. It nourishes the hope that when something serious, something that defies understanding happens, Man* rises to a higher form of humanity and awakens to the sublime reality of solidarity.

    Taoism teaches that when habits can no longer continue, one must follow a path of extraordinary behaviour. One has to "cross the great river". In Chinese philosophy one must confront uncertain waters to reach new shores.

    Dystopia depicts an imaginary society, a society organised in such a way as to prevent its members from achieving happiness. To the point of becoming a utopia that turns into a nightmare. The current trend is to endlessly repeat that the world is ill, that our planet is dying, that our civilisation is decadent, that humans are cowards or worse, traitors. I felt that it was important to create Versus Dystopia.

    Water has always been essential in my photographic work. Since Esquives (2002-2003) and Nocturnes (2007), I have never ceased finding my various heroes flooded, submerged, floating or drowned inside wet landscapes, marshes, lakes and rivers, the title itself of my series Mem (2009) represents in its Hebrew meaning both gushing and underground waters. 

    Once again, in Versus Dystopia, I lead the spectator towards water, towards my adopted land, where I will act and photograph the dawns of the Camargue marshland. During the few minutes of sunrise, between the lake of Vaccarès, salt marshes, Arlesian moss covered railtracks, the beach of Piémanson, Salin de Giraud and rice fields. I catch the fragility of a light, of an ephemeral colour. Dawn offers us a poetics of uncertainty. 

    I often like to believe that uncertainty is what makes us the most human, humbly human. 

    I spent months searching for my heroes, to cast them as new martyrs. I found in Michel Rostain and Sebastien Abot, one a writer, the other a painter, embodiments of a gleaner and a prophet who walk together, rise together, help each other or meet again. I imagined them and photographed them in the poses of a St. Christopher of the Venetian school, a Sisyphus of Titian, a Pieta of William Bouguereau etc. 

    These two men have in turn embodied heroes of a Christian iconography, without ever meeting during the shoots, since each photograph is totally reconstructed as a photomontage. As in art books, I also extracted from each representation, a detail, that becomes itself an image.

    * "Man" is used, not in a restrictive manner, but as the ancient shortcut for "Humanity".