Throughout his professional career, far from the artistic world, with several decades spent in industrial administrative management, his need to do a job down to the smallest detail only served to better prepare him for the fulfilment of his photographic contributions. In 2008, after several painful events, he immersed himself in looking for another way to see the world, entering into the metamorphosis of the image of a flower, the photography of mineralogy and the destruction by fire of technology, a reflection of the world through the very distortion of its image.
With an analytical nature, he leaves no shadow, no reflection or relief to chance. In Phyton, each element creating the beauty of a flower is deformed to only be better transformed through patient work with oil and light. The medium, which changes from the flower to computer components in Nexus or watch parts in Chronos, remains in its entirety, but its colour takes other forms, shadows and reflections. In this macrophotographic stage, the photographer takes an almost scientific approach in the search for natural and technological materials.
During his mineralogy research, he developed and perfected his equipment for the microphotographic technique. The use and study of the intrinsic aesthetic nature of the elements continued to evolve in the photography of mineral stones. Still incredibly demanding, he uses no electronic techniques to modify the image; only research, often to the nearest micron, of each stone to discover and uncover its characteristics.
In the first approach, “Cratère I”, the photographer used fire, a natural element, to deform some pieces of electronic materials and watches. Where many only saw the destructive aspect, he recognised the aesthetic transformation of these objects, notably through the combination of the metals.
With “Cratère II”, he chose a material rich in symbolism, the screen. Although created using natural elements, the screen plays a major role in the transformation of our society, a society more interested in the power of electronics than the force of nature around us.
The combination of his work on these natural elements - the flowers, the oil or the mineral stones -, and technologies - watches, electronic or metal parts-, as well as his fascination with an aesthetic born of the deformation of light and material allows him to look at what’s around him differently. The works shared on this site are only a carefully-selected sample of what possibilities the current photographic technique can offer. However, these works only show their full effect in their completed form: printed and exhibited.