Trusting photography The "camera" is often central to the creative process of this visual photographer who has chosen to voluntarily restrict his use of digital technologies to the strict minimum. The shooting is the essential step in his eyes. He can spend entire weeks experimenting with lights, materials, and ephemeral plastic devices capable of giving birth to what is at the heart of his work: abstract photographic poems. Yann Viguier has been fascinated by photography since his childhood. With his father's Nikon F, he took his first pictures. He animates the photo club of his high school, learns about silver printing and participates in a few amateur exhibitions. Later, he frequents painters and photographers and becomes passionate about studio photography. The contemporary art gallery Espace Cube discovers his "abstract" images in 2018 and decides to defend his work. Since then, he has been collaborating with the painter and choreographer Masha Sborowsky, now his partner, with whom he has just co-signed a series of plastic photographs where pictorial and photographic materials confront each other. Creating abstract poem-photographs For Yann Viguier, pure photography has not finished speaking to us. He situates his artistic practice in the wake of the writings of Georges Didi-Huberman and, in another field, of Philippe Descola. What he is looking for, beyond pure aesthetic emotion, which needs no justification other than itself, is the freedom that images bring when they are able to make us hallucinate, to make us pass alternately from both sides of the mirror. For Yann Viguier, the photographer is not only a witness, he is also a spirit, steeped in culture and discipline, who experiments, hallucinates and shares figures of his humanity. In search of new evocations, on the narrow thread of abstraction, his photographs show chaos of light evoking the dark march of history, hybrid worlds composed of artifacts and natural elements, segments-signs from primary forms. They suggest imaginary landscapes, such as perhaps the Pacific Ocean-colored lagoons where he spent part of his childhood. A photograph, like a painting, is not a decoration," he says. It must be able to speak to us and move us for years to come.