Q&A

Q.

You are an architect, a photographer and a painter, could you tell us how you started to combine all these techniques and practices in your art?

A.

My work is essentially based on the concept of time and space. I have difficulty to observe time as a linear continuity and not imagine a connection to the recent or past events. The child we were in the past is always present in us. An adult is a child with debts. Our souvenirs are a more tangible substance than a simple dream.When a photograph is extended by a drawing, its mixing together the consciousness that we habe from the past with the present days observation and sensibility. Drawing is like going backwards into the past. Extend a photograph by a drawing,it's mixing together the consciousness that we have from the past with the today observation and sensibility. Drawing it's going back backwards.

Q.

Where do all these "vintage" photographs come from, with which you create new works?

A.

These are location scouting photographs from Alexandre Trauner from 1960-61 when he was the decorator-in-chief for the film 'Imra la douce" by Billy Wilder. But also mine for the Detroit & USA series

Q.

The Photograph seams to be the starting point for all your artworks, tell us how each artwork becomes unique with the addition of your drawing.

A.

Each photograph is an enigma. We could say that it holds in itself a detonator of souvenirs. Each photo is of course unique but the souvenirs that it offers become different for each artwork. And if I reproduce willingly the same drawing, it is also to come closer to the enigma behind it. By extending the perspectives, the drawing allows to discover the "off-screen" that has disappeared. The scratches are also a willing expression of the research attempt, to revel the events and memories that are hidden and to bring to life what had happened in the past.