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(1)

Haine ("Hate photography "), poison (" Smoking photograph is wanting Being. is poison.") or "constant danger" (three stories: 1 , 2 and 3) photography in Anoche ... is always an emergency and, as such, requires the photographer that escapes, even temporarily. One way peace in the breakers . I try to understand how it it takes to do with photography and writing.

These "tales", therefore, weave words and images, which in itself is a first diversion. Because the narrative in the sense of narrative, there are very few: the legends of the photographs offer primers, clutching imaginary (" I hurt when I shoot a broom ."). For us to follow, or not. The narrative text is diverted to another, the "narrative photography," sequencing of photographs and text, making it difficult - and even enriches - the device. Because the movement of meaning occurring not only between words but also between words and photographs. " The Lizard and bird " announces a fable that I will not read, whose protagonists are in place, ready to play me a good turn. Text and picture are not in competition here, their cultural load (the title refers to the Fountain, a certain moral of the Grand Century, etc.., Photography refers to a certain cultural practice, diving and framing a certain regard, etc..) adds up to an afterlife of word and image that ends up with us, reader / viewer.

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On the other part


This story condenses many of the themes dear to the photographer. He stages, beyond the personal story of recovery, the optical devices of the mirror, the eye in its many avatars of the stain, the vanishing point overexposed.
The spot light is reflected from the mirror to impose itself on the eye (I do not dwell on the evidence of the staging of the photographic act). What attracts me here is the cutting geometry is the light that defines a surgical : here is the body which operates the eye that compute the visible reality. The viral disease is no longer and in its aftermath, a pale face, the swelling of the eye illuminated, as if the viral infection had won the eye.
The body is caught in the spokes light beam emanating from the vanishing point overexposed, as in the story "The irresistible reduction framework"

So that the eye, ours hesitates: the white square grabs the eye, but the facial features also attract us. This irradiation embarrassment as she balances the composition. It interferes with its intensity, she worried because she is back on, which makes screen. Found presence of this framework in several times: A bird , Diaphragm hexagonal ...
Photography is sleeve. It fits the first time in defining the field and off-field; it one last time frame by imposing a limit viewer's eye sometimes aggressive (overexposure) and reductive (the frame in the frame). This probably means that the title story of "The Irresistible reduction framework," which refers to a procedure of the photographer, and still lit by the citation of Ecuador Michaux which gives its title a Another account : "The passage is taken in a sleeve thinking." The viewer has little choice: if he looks, his eye is caught, caught in this space predator from one frame to another. This is not the slightest interest in this work, moreover, that to implement this dual predation: the photographer towards his subject, and to his audience.

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S / T

"We must admit that I accepted an odd job. As long as I pursue myself, this is only my back I see all the time. But what I lack, is what lies beyond my back. "

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These photographic narratives navigate between report writing and intimate, they are weaving intimate in a double allegiance to literary and photography. The originality of this narrative is the imbalance first text / image, which gives preference to the image, grafted , as they say in horticulture, a graft literal: the text would be ente, slipped in a splice ; haunted by the imaginary scriptural photographer, and text or writing is an obsession.
College, warping, weaving, hand The Trade: mix the two types of son, give rise to a visual pattern as that of a tapestry. We must examine the simultaneous presence of these two orders and take stock of what arises for the viewer: the meaning and more, the result of weaving, a metaphor (figure proceeds by transfer of meaning, I have already mentioned the traffic of meaning between images and texts, such a flow of information.) Direction squared.

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Notes for The irresistible reduction framework

game on nested frames, from frame to frame the picture drawn by the port facilities and staging (production executive) of the photographer photographing (ie framing) would be the cabinet métallique.Curieux: an expert? A bystander?

wonderful photography, intimate scene (rest, mate, inside) , an elderly couple inside a humble, glare from the window (frame too bright, overexposed, but still retained by the photographer, overflow of light discomfort , these characters are in the box (black).

Third declension of perspective, executives drawn by the grave markers, the corridor, vanishing point and a living, center, glare ( white wall at the bottom, neon top, bottom reflection).

Title: one can not escape the reduction (cutting, amputation), part cutting decapitated, and / or the frame itself is a victim of a reduction (which is also a reality optics).

Miniaturization. MINIARA , write to the minium, (analogy with writing the silver salt in the silver picture here with bit of digital photography). The magnifying glass and black (which shows the reverse picture) to check the thumbnail.

The world in miniature. Which parchment?

"Irresistible", ie what can not resist the attraction is as forte.Le charm of the miniature. Small is beautiful.

fantasy of the black box, where and there when image is fixed to be be the replay again and again, in the compulsion of triggering the device.

In all three pictures, the light comes from the bottom, from there, the bottom of the picture, in the elusive off-field, beyond the photo-how to touch the bottom, which is hidden, try all the postures as well (the photographer profile, the couple face the visitor back to the cemetery, and the spectator / photographer / voyeur - which we look. Way to occupy space in several variants.)