You define yourself as a photograph “of the aspects”, what does it means?
The definition we can find in a dictionary is a good summary: small constructive elements of a whole, which can be perceived as secondary.
What led you to photography ?
I got myself a reflex for my 20th birthday and started to take pictures. I had found my language, it was an evidence. From this moment on, I liked the idea to anchor an image in time at a certain moment.
You photograph buildings empty of visitors or your frame exclude them most of the time, why ?
It’s because the image I have in mind in frozen in time, deprived of any exterior factors (visitors or other) without any landmarks, indications. It has to be self-sufficient; where we can dive in, at the limit of the conceptual.
What kind of relationship do you maintain with architecture ?
A strong relationship, the aesthetical fascinates me as much as the technical aspect of a building, a furniture, an object. I feel connected with the creators that give me a carte blanche for personalized orders.
Talk to us about an image that fascinated you
It’s a black and white image of the American photograph Harry Callahan from 1957 in Provence. It represents a building without any special features but the framing, the light and shadows emerging from it makes us instantly feel the warmth and atmosphere of the moment.
The eye behind the lens, how do you picturize the photograph, how to you construct it ?
I don’t really think about the photograph, most of the time I just let myself be guided by the subject I want to capture (often buildings) and I follow the light, its forms, its shadows; I observe and take the pictures calling for me.
What inspire you today ?
The light, the clouds and always the architecture.