The least we can say is that it is not prim. One would just landed the world’s end. He apologizes spluttering and explains that he moved …
No matter the look, I came to the genius of his work. Fascinating. His pictures that I see regularly in the gallery or in the contemporary art fairs and then within me for several days. Some manage to carry me squarely in the countries in which he worked: Sudan, Ethiopia, Burkina Faso, Mali … He is currently preparing on a trip to Papua New Guinea. The country finally matter to him, he landed where his star sent at the discretion of opportunities or recommendations. What is important is the encounter and the faces of those he will “shoot” in its ephemeral studio series, simple white plastic tent installed in the bush, and the work will entail.
Meeting a photographer not like the others.
What is a trip for you? Strong>
A trip is the first work, but it is also the time when I feel on vacation, because I am in a state of total openness to the world. I can have sex with people under very special conditions.
How do you work? How do you choose your subjects? Strong>
My portrait photos are creations. I spend time in the selected countries, but also on my return to Paris.
On the spot, I sit and I ride my studio. I create a kind of event. A situation that is conducive to discussion and meeting photo. Then I moved my subject and I go shoot outside to capture the innocence personality of my subject. I want my picture to read that face.
Please note that this picture is not good every time. Sometimes exert some form of protection, even isolated and face themselves in my studio. What I see is that the further I go, in remote villages, plus the photo is successful. People’s faces is amended by devouring tourism. All my work is this encounter and face that will offer me these men, women and children.
I then translate that face into art.
How to better define the personality of your subjects? Strong>
To understand it, I chose to erase me as a photographer. That is my subject enters my ephemeral studio, and I’m outside. Consequence: the person is no longer in a reaction to the photographer. She is in her bubble. What it offers is not tarnished by events or outside eyes. There is a form of fullness that I try to capture.
Are there any complicity between your subjects and you? Strong>
For my subjects, I proceed by elimination. I take between 10 and 20 shots of each person. And I shoot about 100 people during my stay.
In return, I watch 10 at the gallery and we draw from that 5.
I do not believe establish any complicity. It is beyond. Just a breath, a look to the picture is amazing. We’re in something ultimately very informal.
A trip, is it always a beautiful escape, or sometimes a sad escaped? Strong>
I inevitably have setbacks as recently in Morocco where we could not seat us where we envisaged. But overall, it’s still a beautiful escape because I forget everything, I share everything. Harmony is total.
Your travels are part they necessarily in time? Strong>
I go at least 3 weeks to have time. But conditions are often difficult, the heat, the fact that we put a point to get some sleep anywhere and not at the hotel … so I do not drag me either. Sometimes, as my next trip to Papua, it is the economic conditions that force me not to stay too long.
Then, a lot of my work is done on my return. I work at least two days each photo on photoshop. I remove the “temporary defects” that make given the size and the quality of my photos, you would not see it. I add a bit of light and eliminates what would interfere with the look. I finally get to what I call a work.
Is there a subject that is, according to you, an invitation to travel? Strong>
Travel cards. My ultimate driving companion.