My creative research is done through different approaches: installations, photography, video and drawing or collage. What inspires me today in the process of creation, what pushes me, because they are impulses that generate ideas, images in my mind, is precisely the desire to show in its lightness the movement of momentum, growth, flight. It's always about seeking for capturing transience.
Often appears a story of liberation, elevation, a desire for flight, movement found, space to conquer. Captured at high speed or slow motion, my images are attempts to escape. The flight in its emergence fascinates me. It is, with each performance, an attempt of liberation in the movement, in an effervescence, an ardor with which I seek to take again space and time in an action in becoming. My artistic work is related to childhood in the playful approach of my experiments and fantastic or surrealistic aesthetics.
I photograph or film light experiments from objects as they are sources of light. And in an almost naturalistic search, I experiment all kinds of visual captures, trying many speeds and angles of shooting, by modifying the lighting. I try to bring the object to disappear and unrecognizable, it becomes something else. It then touches on the elsewhere, it exceeds its reality to become an explosion of colors and forms on-real. It's a breeze to de-build and rebuild. Handemade special effects, magic tricks. It's a re-creation, a joyful recreation.
My bright photos are made at high speed during a very physical and spirited performance that captures the image of a movement that the source object does not always produce, because it can be motionless while I move while taking pictures, with frenzy. The object sometimes moves with me, as in a dance; what the Swirls of light series shows. For bright or non-luminous videos, I often choose the slow motion which gives a particular depth to tracking shots, offers the sound an intense presence. As if the film which is closer to life, should call for some restraint, concentration, attention. I film a sequence shot without editing or use of software, for now.
I also set up outdoor or indoor installations in which I place miniature figurines in an exploration of a visual poetry that would delight or move the viewer. These scenes are then reminiscences of an emotional experience that becomes an imaginary memory, as if by anticipation. I evolve between abstraction and figurative, between high speed and the depth of slowness.