A fan of Wabi-Sabi, the Japanese philosophy of accepting and recognizing beauty in the imperfection of things around us, I create images of the present time so that they appear to emerge from another era. The term "wabi" evokes simplicity, solitude, rusticism and elegance at the same time, that of "sabi" the beauty that has lived, the enhancement of age and wear, the patina.
A touch of destruction, random scratches, grain, defects, unexpected stains, an outdated tone, my images look like photographs from an old time, although they are nowadays. I am trying to talk about time, the one who passes, the one who remains, the things and the living that go through it. It is a question of soliciting the reader, or the spectator, about his own place, to propose to him to question himself on his temporary presence in the face of the sustainability of things.
By adopting old silver cameras and using outdated black & white films, I insinuate myself into the very questioning of my approach: as the custodian of this material, I intend to extend its use, to seek its defect and to create additional ones, in order to deliciously approach the imperfect.
There is this representation of reality, there is also the representation of the image itself. In the idea of remaining faithful to this Wabi-Sabi philosophy, I opted for a peaceful sobriety in my photographic prints. Printed on washi paper, this paper made from natural Asian fibres, then laminated on canvas cardboard, all the photographs are fixed on anthracite wooden plates, of a simple and modest elegance.
Photography becomes an object of contrast, both through the complementarity of black and white, light and dark, and through the opposition of these images, which seem to be altered by time and their modern and perfectly new support.
This minimalist presentation, with its simple aesthetic, only tends to be shaped by time itself.