"As a child I could spend hours watching light play across a wall, or haloes of light on the ceiling, or lichen – in which I would try to trace a map, an island or a forest."
A FASCINATION WITH VOLCANOS
Part of my family comes from the Auvergne, an area of ancient volcanic uplands. The landscapes that we experienced during our childhood still permeate our subconscious. As adults, we spend a lot of time searching for the things that informed our imagination. Soleil des loups is about two children who live on a basalt plateau, the strata of an ancient volcano. The mythology of volcanoes permeates this series: the essence of a tumultuous natural phenomenon – which I linked to the troubling metamorphosis from childhood to adolescence, a time of psychological disruption and physical transformations.
I have always had a visual approach to life. As a child I could spend hours watching light play across a wall, or haloes of light on the ceiling, or lichen – in which I would try to trace a map, an island or a forest. I am drawn to that which must be seen and that which is not seen. I admire the so-called “primitive” photographers. When I look at their photos, they evoke the idea of a fossil – an image that moves through millennia trapped in stone or amber.
A GEOGRAPHICAL STORYTELLING
I was initially interested in geography, then the arts and finally in cinema. I graduated from the Ècole nationale supérieure de la photographie in Arles. All these elements are intrinsically mixed within my current work – I am still fascinated by geography, atlases, maritime maps and charts, lost countries and abandoned islands. Questions of territories, limits and borders run throughout my work.
AN INSTINCTIVE PRACTICE
I oscillate between two poles – for certain periods I don’t take any photographs for months on end. When I am shooting, my projects are very intuitive. I abandon research and I let myself go with it. My angles are direct, and not particularly technical. I use an analogue view camera that I manipulate empirically. I let the camera deregulate itself without feeling the need to master everything. I am trying to create a palpable and sensitive rapport with the world – which emerges through light, fragments and the chemistry of film.