Latticed Window (1835), (2017)

Latticed Window (1835), (2017)

Readymade object, 2017

Wooden shutter from the Maison Descartes in Châtellerault, France. The lattice pattern is formed naturally in the wood by the sun over several years, and recalls William Henry Fox Talbot’s very first images.

Collection artothèque de Chatellerault.

back | gallery

Mnémosyne (2017)

Mnémosyne (2017)

Sorry, this entry is only available in Français.

back | gallery

thumbnail
Projection / Objectif (2013)

Projection / Objectif (2013)

Sorry, this entry is only available in Français.

back | gallery

thumbnail
Monument (2010)

Monument (2010)

Digital print on wood
approx. 70 x 42 x 42 cm
exists in two versions

back | gallery

thumbnail
the Deluge (2010)

the Deluge (2010)

A pictorially inspired still life is gradually flooded by rising water : a simulated form of disorder is replaced by another.

Video, silent

29′03

The Deluge is an experimental video made in 2010 with a high definition camera. It is an evolution from an ongoing series of photographed still lifes and from an earlier video, called Still, from 2005. A classical still life composition is presented on the screen. The objects respect the forms and symbols of 17th century Dutch painting. They are carefully placed and composed to suggest, as is the case for Vanitas paintings of that period, a form of “disorder in order”, overturned glasses and bowls, spilled fruit as if a meal had been suddenly interrupted. Its strong composition and iconography suggests painting more than photography or video. Slowly, a line of water appears, as it becomes evident that the space is being flooded. The video was shot at 48 images/second then slowed down to 24 in order to obtain a meditative and unreal feel. As the water slowly rises, objects are knocked over, the candle goes out, the wafers float away, the tablecloth billows… toward the end, gusts of invisible water and darkening light bring a more foreboding feel. What was a still image becomes a moving one, but also the composed and false disorder becomes real and hazardous due to the natural reactions of the liquid, although more or less controlled by the artist. The whole film is made to be meditative and slow, which is in ironic contradiction with the title evoking the violent biblical flood.

My work revolves around several ideas, the idea of the artist as a creator being one regular theme.

The idea of destruction through creation is often suggested in my work. This work was originally conceived as an experiment with images, the inclusion of water as a destructive element being a sort of equivalent to the solvents used to destroy photographs during the 2008 Wexford performance. Hence as a human creator the artist composes, then applies a system that transforms (in this sense the relevance of the term “destruction” can be questioned) what was originally fixed. This transformation can be partially controlled, but the essential part due to chance is inevitable. Hence, in Vertical Archives (project for Wexford), images were destroyed by solvents, the coloured result being uncontrollable. The same goes for other works were pictures were taken according to a rule, but the result (in framing, in subject … ) was also more or less out of control.

Although based essentially on artistic ideas, The Deluge is an act of contemplation and of questioning. The biblical title ironically recalls the idea of a creator/destructor, the violence of the mythical event being subdued here by the slow-motion photography and the contemplative aspect of the work. Water is a source of fascination : its invisibility in the end makes the objects float as if without gravity, making elegant forms in the tablecloth’s folds, spinning the lemon away. But this pleasant vision is opposed to the idea of disappearance and force of destruction the title, as well as the Vanitas theme of the still life, suggest. As a modern form of vanitas -a theme frequent in contemporary art since the last years- the video suggests that what we have around us is fragile, ephemeral, that disappearance is inevitable. Water is here a tool, a symbol and a warning.

back | gallery

thumbnail
Attribution (2009)

Attribution (2009)

6 self-portraits done directly with a mirror. A play on portraiture and painting.

back | gallery

thumbnail
Prix (Prize) (2009-)

Prix (Prize) (2009-)

A series of 3 trophies, designed for a regional prize in publicity and communication.

The picture of a victor’s cup, with different attributes, is deformed into a pyramid to be seen only from a precise viewing angle above. The prize is thus actually the anamorphosis of a prize, an illusion which is as much a photograph as it is a sculpture.

Digital colour print on medium board

Prix, 2009

three versions (black background, red background, ornate background)

Prix II, 2010

two versions (black background, red background)

approx. 22 x 12 x 12 cm each.

(private collections)

back | gallery

thumbnail
Vertical Archives (project for Wexford) (2008)

Vertical Archives (project for Wexford) (2008)


back | full text | gallery

thumbnail
Souvenir (2007)

Souvenir (2007)

digital print on canvas with cut out rectangle.

100×80 cm

back | gallery

thumbnail
Present (2007)

Present (2007)

Photographic work based on Caravaggio’s Bacchus, a play on space and language.

back | gallery

thumbnail
Pulsion Scopique (2005-2007)

Pulsion Scopique (2005-2007)

Sorry, this entry is only available in Français.

back | gallery

36 Landscapes (2005)

36 Landscapes (2005)

Sorry, this entry is only available in Français.

back | gallery

thumbnail
Still 1&2 (2005)

Still 1&2 (2005)

A still life of objects, inspired by 17th century Dutch painting, is filmed for a long period of time, accompanied by the natural sounds of the street heard through the window. A work on duration and our relationship to time and images.

Video, 12′21”

back | gallery

thumbnail
Interpretation (2005)

Interpretation (2005)

7 color prints (20×30 cm each), metallic frames, text, music stand

variable size

back | gallery

thumbnail
Over the stained-glass screen (2004)

Over the stained-glass screen (2004)

2 photographic colour prints, carboard, Letraset, glass, wood and metallic eyelet bolt, acrylic paint.

57 x 33 cm

back | gallery

thumbnail
24 (2004)

24 (2004)

Photographic installation done in Poitiers in 2004, including 24 B/W pictures on three levels : Hell, Purgatory and Paradise. Each picture is accompanied by an apparently unrelated quote.In “Paradise” the quotes are replaced with double exposures of the 18 preceeding pictures from Hell and Purgatory. The frames are colour-coded as well.

24 b/w pictures (13×19 cm digital prints), 8 b/w pictures (10×15 cm digital prints, double exposures), painted frames, stickers, glass.

Variable dimensions

back | full text | gallery

thumbnail
The Posters of Venice (2002-2003)

The Posters of Venice (2002-2003)

Sorry, this entry is only available in Français.

back | gallery

thumbnail
Reproduction (2001)

Reproduction (2001)

Series of variations based on a print of an 18th-century Still Life.

80 colour slides, projector.

back | gallery