#Rawmaterial for Landscape
2019
Séries of 42 Photographs and et NFT
Variable format.
Followed and completed on Instagram #matièrePremièrePourPaysage and #RawmaterialForLanscape
42, like a perfect grid of 14 lines by 3 columns of Instagram. Originally designed for the web, this series only needs to be completed by other internet users in the same style.
Searching through my own photographic archives is a major act in my artistic work. Here, it is a question of collecting the photographs of landscapes captured with all kinds of devices in the course of the years and playing with the formalism of social media platforms. From recent digital photographs and neat to older ones whose quality is an obvious dating factor through smartphone captures, etc., the collection is uncompromising. Landscapes succeed each other in their apparent brilliance but sometimes let slip an anomaly that refers to the ecological, technological or political reality of the place. In each landscape, in the center of the image, where the gaze is generally lost, is another image. These square photographs on a white background, always respond to the same shooting protocol and show in close-up, an object or a material that has, or could have been taken from the place. By association of ideas or by geographical and visual proximity, these objects refer to the very nature of the landscapes which although real are built just as much thanks to our power of imagination. This ambiguous game between raw materials, natural artifacts or human pollution, questions our tendency to look at the world as a lifeless thing, only able to serve as raw material, food, oxygen or aesthetic satisfaction. But these obstructions of landscape, also pay homage to the simple power of a stone, to it only landscape which transports us elsewhere and carries in it the structure of the world: "When there is a stone which is there, there is already this that the stone is. All these changes and movements will be, for centuries and centuries, regulated combinations of its fundamental consistency ", José Ortega Y Gasset expresses this existential simplicity which opposes our own existence, so complex and ambiguous.
By associations of archives and current creation, the project offers a multitude of visions on our environment. This series presents approaches whose formal systematism underlines more opposition and denotes our paradoxical relationship to the world.
