Why do you make art?
I have always been fascinated by all the many different forms of human expression. Writing, music, painting, dance, sculpture, cinema, etc., it is endless!I traveled for the first time in the U.S. as a young teenager and spent a whole rainy week stuck in a cabin in the Adirondacks with not much to do. I remember reading an article about Italian opera inThe New York Times, with some beautiful black and white pictures illustrating the article. It was a whole world on a quarter of a page. I then realized this was how I wanted to express myself. I wanted to freeze, frame and capture some moments, emotions, lights and landscapes that were dear to me, and eventually communicate an idea, a feeling, or just a visual emotion. When I got back, I bought my first camera and I have never gotten bored ever since.
Looking back at your early work, what do you think about it today?
I think this is the most difficult thing to be critical of my own work! I am usually very hard on myself and don’t really like to look back at my previous work. But when I do, I am often biased as all my pictures relate to a specific emotion and it is hard to dissociate the picture from the feeling I had taking it. So when I look at my early pictures, after the first emotional aspect I often question the angle, frame etc. why did I crop this image this way, why did I focus on this person? etc.
Which art/photography fair do you appreciate the most?
I naturally love to go to the inevitable Aipad show or Paris photo, but I also really like the festivals like Arles, Vevey, etc that are taking over a whole city.
Are you interested by the buyers of your art ? Do you want to know about their reasons ?
Yes of course! I am very intrigued by the art buyer’s “journey”…why this medium, why this artist, why this specific picture? What does he see? Why is he moved? How does it speak to him? I think this is fascinating…
Can you tell us more about your series “deep Blue”?
My photography mostly focuses on the theme of frontier, as a limit between different spaces, as a quest for new territories in travel photography and also as a border for the human presence within the natural elements. In the series “Deep Blue”, I wanted to put an emphasis on textures and on the graphic feel and geometric aspect of these unoccupied, almost empty Bahamian lagoons.
Iam naturally drawn to the quietness and peacefulness of wide and unlimited landscapes and in “Deep Blue”, the scenery is an invitation to an imaginary journey through all the shapes and shades of the sea.