il ne faut jamais commencer à mourir
The precariousness of life is echoed by the precariousness of the frame. Using a large format camera forces us to take into account the distance that separates us from the subjet. That intermediary space is one of reflexion.
It’s that search for the right distance – both physical and mental - that gives meaning to the whole serie. What could have constituted the subject of a particular photography – the soccer field strewn with detritus, the salt marsh, the few trees or men bustling about preparing tea – is relegated to a position of secondary importance. The framing undermines the original hierarchy between subject and context, and interrogates the tension between the essential and the unessential. More than that, it’s a whole ecosystem that’s created where all the elements – men, trees, animals, burn-out cars – react to their environment. The space becomes inhabited by emptiness : as much present and meaningful as what surrounds it, it enhances the state of uncertainty.
The conquering of the land is represented in seemingly contradictory perspectives. Emptiness : a cemetary of bent burn-out cars. Wholeness : a desert with neat dunes revealing expensive villas. And what if these vulgar houses were nothing but a mirage. And what if this forest made of wrecked cars were the only sign of a possible stability ?