Could you tell us about the two images presented? Under what circumstances and state of mind were they made?
The one entitled Aberdeen was shot in the United States in 2006. I took a lot of pictures of forests and logging for a photo report about forestry.
The timber is cut into huge pieces, much larger than I had imagined: the proportions are so enormous that people are sometimes crushed by them.
The one entitled Dance 74 was taken in front of my parents’ house in 2009. I have always liked to look at this vineyard since I was a kid. It’s just outside the door, but I never went in. You can hear the sound of blank shots being fired to scare away the birds. The vineyard is protected by nets; the grapes they grow here have no pips, you can eat them with the skin, they’re amazingly sweet.
How would you describe your approach of photography?
Does it result from contemplative wanderings, after which images come together freely in retrospect, or do you plan your projects ahead, with a clear vision of what you want to achieve?
I go out with relatively clear visions and directions, but am often surprised by what I discover and capture. I usually make multiple prints to find out what I really want and finalise the image.You are a colour photographer: you leave plenty of room for colour to express itself in your images, and seem to have a preference for sunny atmospheres. What part does colour play in the composition of your images?
I believe light blue symbolizes “emancipation” and blue-green “silence”. In order to fully express the world’s dimensions, I always try to work on colour and space simultaneously.
Limited edition, numbered and signed.