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Junku Nishimura / Sygrid Guillemot / Pierre Belhassen / Elphin Delphes Lopez / Gaele Pierre / Solen Last / Pauline Franque / Julie Badin / Yann Le Coroller / Huang Xiang et William Rock / Petitescargot / Fitzcarraldo / Emre Ucar / Hondo

ISSUE 101009









Junku Nishimura INTERVIEW of the artist Sygrid Guillemot « GAMBLERS» Pierre Belhassen INTERVIEW of the movie director Elphin Delphes Lopez « ON THE ROAD » Gaele Pierre INTERVIEW of the collagist Solen Last « GIRLS’ LEGS» Pauline Franque INTERVIEW of the painter photographer Julie Badin « ALONSO » Yann Le Coroller INTERVIEW of the artists Huang Xiang and William Rock

« PICTURES OF YOU » Petitescargot INTERVIEW of The Fitzcarraldo Sessions Emre Ucar INTERVIEW of the painter Hondo



Junku Nishimura INTERVIEW of the artist Sygrid Guillemot



Japanese-English translation: Hideaki Kitano PHOTOGRAPHY, A NOCTURNAL DIARY… If we have three lives - the past, the present and the future - which proceed in parallel with each other, I have never been a good keeper of a diary of the past. Perhaps I am writing the belated diary years later. I feel like if I do not keep it I might die not knowing who I have been. Particularly vague are the memories of nights, where there was something that I cannot remember but must have seared into my memory. In search of a clue for it, I find myself night after night being drawn towards the darkness of alleys. A FEELING OF LONELINESS IN YOUR PICTURES ? Some unguarded expression a young man drops when left alone in the train, where he had a pleasant chat with his fellows who have got off one by one. A moment an old man who must be basking in retirement takes off his smile and casts a look into the distance while playing a grandchild. Only a fine line exists between the opposite concepts of solidarity and solitude, like between the spellings of “solidarity” and “solitary.” And I am fascinated to the moments when the former word changes the “d” in it into “t”, changing its meaning with that. If asked, “Do you boast that you have expressed solitude just by photographing lazing people?” I can do nothing but admit this is the limit of my photographic ability at present. Some day, however, I want to leave behind pictures that can be said to have captured it, say, in smiles. YOUR WISHES FOR TOMORROW ? Recently I quit the company where I had worked for years, which was to resume the journey which I broke off twenty years ago after only four months of pursuit. If I had not encountered photography, I would have stayed with the company until retirement. Anyway, what I hope for now is to be like a pebble on the roadside and continue photographing this world, even when in debt. When I can no longer bring my camera into focus, I would like to ruminate “Why was it that I took this picture?” or “What have I been all these years?”, running through my pictures one by one under that old familiar tree back home. Perhaps I cannot find the answers, though.


INTERVIEW COULD YOU DESCRIBE YOUR UNIVERSE? I think that it is about re transcribing in a pictorial way a dreamlike and animalistic vision. I am very interested in Shamanism; it seems to me that we have to re-connect with nature. I try to remain close to an original, pure perception, like a child, who in a way still perceives the magic of the world. Actually, I am not sure that becoming an adult is an evolution. Children’s sensibility is magnificent and complete. Growing up is beginning to get damaged in some way. YOU OSCILLATE BETWEEN PAINTING, DRAING AND PHOTOGRAPHY. WHICH MEDIUM DO YOU PREFER ? I think of myself as a mark maker. I use the medium which will be the most suited to my subject. Having directed several videos recently, I am back to drawing now. The line does not lie. There is no special effect, no CGI. Drawing is like a performance. I do not make a draft, there is no turning back. WHERE DO YOU DRAW YOUR INSPIRATION FROM? Mainly in nature, during long solitary mountain walks or through forest. Music can also inspire me (Marie Boine, Lhasa, Dead Can Dance), or reading (Mary Summer Rain, Bachelard, Baudelaire, Hermann Hesse and so many others). It can come also from meeting someone. Love transports me and inspires me of course. I express my feelings through being creative. I can’t help it. It is both a kind of advantage and a handicap. WHAT ARE YOUR PROJECTS? I am exhibiting sculptures in Pablo Garcia’s gallery-garden all through September. I am starting one year’s training at the INECAT to be an Art therapist and I have the project of directing a movie, half-fiction, half-documentary, on the way ancestral traditions could be applied to our modern lives. This big project will take me to Mongolia, Peru, Alaska, etc.



« GAMBLERS » Pierre Belhassen INTERVIEW of the movie director Elphin Delphes Lopez


GAMBLERS PHOTOGRAPHY… It is a fantastic tool, a dream space where I express what I feel. Thanks to photography I become an eye, a glance hidden behind an incredible machine that can make me travel in time and in an imaginary world. Photography enables me to stand at the epicentre of emotions, it touches me in ways I don’t expect, through the mystery of a smile, or the weird position of a hand. I do not have a particular technique. I never really see what I take a picture of. All I do is try to feel whether there is something happening or not. It is more a question of recognizing the moment than of creating it. It is all about capturing a sensation, a shout or a shiver. ABOUT THIS PROJECT… I started this project by observing what part the universe of gambling took in some people’s lives. I saw them gamble in a mechanical way and bet as if it was a compulsion for them. I wondered what their deepest motivations were. I chose to restrict my subjects to the universe of racecourses, because I wished to deviate from virtual games. I looked for a place where I could show the peculiar behaviour of the punters when dealing with a real event. I wanted to study the omnipresent fluid in which what stirs in this circular and isolated universe soaks and derives: money. WHAT ARE YOUR PROJECTS AND DESIRES FOR THE FUTURE? I would like to work with colour and see what it has to offer, maybe a new dimension, a hint of reality, a new light. I will try and see what I can do with this new palette in my next project, which will be about the world of the ciand acus.


GAMBLER WHY DIRECTING ? To try to share my inner world and ideas. I am using this media because it’s a good compromise between theater and literature. I used to write short stories. One of them was «The trunk» («La Malle»). People liked it but its distribution was very limited. So I thought about writing a theater play out of it. But at the time, it was very hard for me to hold a company for months just for a few representations. Nevertheless, I really want to direct a few theater plays in the future. That’s why I came to directing. Directing associates writing and production for a long lasting product. A good point : when cutting the film, you only need a few people for a few days and you have a concrete goal, so it’s really easier to stay motivated. YOUR FIRST MEMORY AS A SPECTATOR… «The Bear» by Jean-Jacques Annaud. Not really easy when you’re in primary school. I remember watching this movie sitting on a school bench at my hometown’s hall. A Citröen 2CV pulled in and people started to install the screen and the projector. My childhood really looked like the movie «To Be and To Have» by Nicolas Philibert; being lost in the middle of the countryside is only fun when you’re really young. CAN YOU TELL US MORE ABOUT GAMBLER ? It’s a whole universe, an ambient before being a story. This project reunited lots of people, needed four years of preparation for just a few days of shooting and I still find it incomplete. I am very proud of it. The storyline is a little bit classic; it’s about a boy growing up and finding love. Through this theme, I wanted to evoke the particular world of show business and festivals I grew up in and the influence the parents can have on an individual’s self-construction. It also deals with the choices you have to make when you grow up. YOUR CURRENT PROJECTS… I have three current projects. First, a feature film called «L’Etrange Monsieur Trip» («The Strange Mr Trip») about a boy who’s travelling through the stories he’s told, with Dominique Pinon. I would like to direct it soon, but no deadline has been fixed yet. The financing process is a little complicated. Then, I have a writing project called «Un week-end chez Ada» («A weekend at Ada’s») which is much more personal. It’s about a family dealing with handicap through an extraordinary adventure. Finally, I am going to shoot a 52’ documentary about architecture in movie theaters with Sacha Burdo in a few weeks.

Depuis son lancement en 1998, Actuphoto a su s’imposer parmi les media culturels consacrés à l’actualité photographique ce qui lui a permis d’acquérir la confiance des plus grands organisateurs d’événements photographiques tels que l’agence VU, Magnum photo, la Maison Européenne de la Photographie, le Jeu de Paume, Paris Photo...

LES SERVICES Aux lecteurs • Les annonces des expositions dans toutes les villes où la photographie a joué et joue encore un rôle historique • Les actualités récentes du monde de la photographie • Une sélection d’ouvrages et de parutions • La couverture des principales manifestations, festivals, colloques, rencontres, salons ou signatures… • Un accès gratuit aux alertes par email Aux photographes • L’annonce des concours, prix, bourses, appels à candidature • L’annuaire des professionnels de la photographie • Une rubrique CARTE BLANCHE mettant en avant des photographes originaux et marginaux à découvrir • Un espace membre permettant aux professionnels, amateurs et photographes d’échanger des informations et de soumettre leurs communiqués de presse ou événements



« ON THE ROAD » Gaele Pierre INTERVIEW of the collagist Solen Last


ON THE ROAD WHAT DOES PHOTOGRAPHY REPRESENT FOR YOU ? It is the act of crossing through the mirror, in reference to Lewis Carroll’s Through the Looking-Glass. ABOUT THIS SERIE… I would say, that beyond the landscapes that are put forward, it is a rather faithful representation from the spectator of the world that I am at these moments; the place I occupy physically, withdrawn, distant, in a direct relationship with the space, but also mentally in a dreamy pondering. Often, from inside a bus or a train, I watch a world that scrolls like a film, and I try to freeze the frames when it seems to me that real and dreamed landscapes meet. It is slow work and I quite like the idea that this project will stop unwinding only when I have become motionless. A PROJECT, A WISH FOR TOMORROW? Istanbul-Teheran by express TransAsia...


INTERVIEW HOW DO YOU WORK ? I was born in France and live in France at the moment. I haven’t been to art school. I am self-taught. My work consists essentially of collages, but also uses a mix of paint and typography in my early works. I produced several pads of collages, XL, A3, 2 A4 and A3 sizes. HAVE YOU GOT ANY EXHIBITIONS RUNNING, OR COMMISSIONED WORK ? I produced an art show during a concert performance by projecting my work on a huge screen. I haven’t exhibited yet, but I have received a proposition from a Parisian art gallery for an exhibition during January ( I am also a self-taught graphic designer and I do voluntary work for groups or associations. I have created stickers, flyers, animated banners, graphic charts, logos as well as CD and vinyl covers. Here is the link to a group I did a CD sleeve for: WHAT ABOUT THE FUTURE ? I am working towards publishing my work in magazines or fanzines. I will soon be in: -plateforme58 : -Capiusa magazine : -mia buela es jazzista :



« GIRLS’ LEGS » Pauline Franque INTERVIEW of the painter photographer Julie Badin


GIRLS’ LEGS HOW WAS THIS SERIES BORN? It came unconsciously. I never thought that I would make a series about girls’ legs, it came later. At first, I practiced essentially my self-portrait skills. For a change and also because always seeing my face was becoming annoying, I decided to take pictures of my legs, in diverse poses. After a while I realized that I had a small series and I thus decided to enlarge it by photographing legs of proper models. A COLLECTION OF LEGS… Legs as portrait, it is partly what I wanted to realize, but my aim was also to show feelings and atmospheres using part of the body. Obviously, taking pictures of legs is not a harmless choice, it is part of this eternal feminine ideal symbolizing both sensuality and elegance at the same time. Attractive legs, it is what we all want in the end... WHAT IS FEMININITY FOR YOU ? Femininity evokes to me words like sweetness and frailty, but also mystic and cunning. Sofia Coppola’s movies show well what femininity is. The woman as seen by herself is something that has always interested me... Femininity is something I find incredibly inspiring and poetic, because it reveals multiple facets, which arts have been exploring for a long time. It might be a very common subject, but so fascinating!


FICTIONAL PORTRAITS HOW DO YOU DRAW ? These sketches belong to a series I called «Fictional Portraits», in which I tried to sketch people fly-on-thte-wall. These people rise up on my sketchbook in brutality and vivacity. The technique I use makes my movement sudden and irreversible. I use a wooden skewer. It’s a poor tool as I would say. I use Indian ink : a liquid, non-diluted material that dries very quickly. The skewer prickles, scratches, slips and doesn’t stick to the sheet very well. By using this tool to reveal the form, I create an incisive and decisive relation with the sheet that may cause damage. The Indian ink lets all the visible or hidden marks of my movements; I can’t erase them nor regret what I just did. SO YOU’RE SKETCHING LADIES... Not exclusively. But my sketches mainly focus on feminine elements, mysteries and representations. I wonder how women can exist being women, how they represent themselves in a physical, carnal or sensual way. In these «Fictional Portraits», feminity is represented through its multiplicity, differences and changes of mood and emotions. Sometimes, masculinity pops up as a transitional, perturbating or conciliatory element. The portrait isolates the person and shows the subject in a moment of intimacy, a shared intimacy, and I really wanted to draw a series which would reunify these moments of loneliness. WHY DID YOU CHOOSE BLACK AND WHITE FOR THIS SERIES? Black and white make an interesting duality because of the contrast and provides a good space to work on. Black and white oppose are opposed but complementary. I sometimes use color to highlight some elements : a mouth, hair, a halo or eyes for instance. In «Fictional Portraits», I wanted to keep a certain cohesion, based on a dialogue between different values and shapes. YOUR PROJECTS? I have just created my first own website. I still have to improve it in the months to come. I am also taking a photography course so I can go on working on my sketches and pictures. I would like to publish and exhibit my work.



« ALONSO» Yann Le Coroller INTERVIEW of the artists Huang Xiang and William Rock


ALONSO HOW WAS THIS SERIES BORN? The series started with a journey. In order to make a counterpart for my series “invaded landscape”, I wanted to install virtual trees-mirror in the jungle. To do so I hired my best friend (Loup, my model) to journey one month in Vietnam. Both of us had already travelled in Asia quite a bit, so it was also a good opportunity to spend a month on a motorcycle in a country that we both like. However, to have Loup there also was the opportunity for me to create a series with a comedian. I had had this idea in my head since my trip to Tokyo in October, when I discovered the work of Masashi Asada: the Asadas, in which he stages his family in various weird situations. (Http: // It is for me the perfect balance between cultural references and humour. Everything clicked into place. Although I have been an admirer of the work of photographers such as DiCorcia, Jeff Wall or Crewdson for a long time, I had never wanted to go to there myself. The humour of Asadas was a revelation: I wanted to try directing. YOUR CHARACTER… I then had the idea to create an imaginary character. I was inspired (very freely,) by Don Quixote’s adventures. Alonso Quixano, Don Quixote’s real name, is my starting point: he is an outmoded character, lost in a fantasized world. I wanted to create scenes that would invite the spectator to write a story, itself suggested outside the frame of the image. Weird situations and the absurd getup make this character tender and charming. The lighting, the unreal mood due to the use of deported flashes, adds a touch of strangeness to the picture. Alonso is also a more intimate way for me to express this kind of unease that everyone experiences at some point, although to do so with a light touch. A JOURNEY … When we left, I had a few scenes in my mind’s eye, or drafted on paper. Fortunately the jungle in January in Vietnam was not available and we concentrated then almost exclusively on our character. However, if I had some sketches jotted down on an exercise book, the biggest difficulty was to find ideas for scenes and then to realize them, to find places and accessories. It is, I think, the main lesson I would keep from this experience: a staged series, quite like a film, must rest on a good scenario.


W I L L I X A I M A N R G O C & K

CENTURY MOUNTAIN PROJECT Huang Xiang’s statement: «I consider the art William Rock and I make in the Century Mountain Project to be highly creative. It is something that has not been done before. We are using this art and poetry to build a bridge for East and West and to encourage an awareness of a universal humanity. I lived through the Cultural Revolution in China and was not allowed to practice my art openly and suffered much hardship. I spent twelve years in prison for writing my poetry and speaking up for human rights and freedom. But I believe even under the greatest conditions of duress all the living creatures on earth will go on breathing and the voice of a unified humanity will not be silenced. Truth is not subject to time and spiritual cruelty.»

COULD YOU PRESENT US THE CENTURY MOUNTAIN PROJECT ? This is an arts collaboration between the Chinese poet Huang Xiang and myself (William Rock) . It essentially portrays people who stood out like mountains throughout the centuries. They are people that accessed a certain potential. A potential that I believe that each one of us possesses. It manifests through us in many different ways. These people we portray manifested their truth and as a result made a contribution to humanity, whether through creativity, leadership or discovery. It is up to each of us to uncover our potential, let it unfold and contribute to life. It has nothing to do with being famous, you can be male or female, you can be of any race, ethnicity or culture but it is up to each one of us to find our own key and to unlock this gift. The people we portray in Century Mountain found their gift and they shared it and we can still be inspired. Gandhi, Lao Tzu, Emily Dickinson, Rimbaud and the others - if we are able to be silent and listen - will share their truth. THIS IS A COLLABORATIVE WORK… We choose our subjects by the inspirations they offer as we visit their lives or their work. Essentially how clearly they speak to us today. Huang Xiang was denied a formal education in China so he is self-educated. His father was executed by the regime but he left behind a treasure trove of books by Western writers translated into Chinese. Huang Xiang at the age of nine found these books by writers like Walt Whitman, Emerson, Nietzsche, Dickinson and over a period of years learned to read them. So he is very familiar with Western thought. I have been immersed in Eastern thought and practice for many years. There is a base cultural understanding and as artists we trust the intuitive, the creative space. We meet there and let it happen spontaneously. Huang Xiang does not speak English and I don’t speak Chinese. Much of our collaborative art springs from silence. YOUR WISHES FOR THE FUTURE… I don’t really think in terms of future. I believe it is all contained in each moment. This being present. In terms of our art, we wish to continue to engage worldwide and let the art form a connective visual dialogue. It is obvious we are all the same - one day there will be a «tipping point» where more and more will realize this and we will learn to treat each other with equanimity and compassion. Art is a great gift.



« FROM MY VEINS TO THE SEA » Petitescargot INTERVIEW of The Fitzcarraldo Sessions


FROM MY VEINS TO THE SEA WHAT DOES PHOTOGRAPHY REPRESENT FOR YOU? I have been shooting for two years now. I started with abstract painting but I needed much more space than I had at the time to express myself. So I started taking my point-and-shoot camera to work; I would spend my time shooting everything. This is how it happened. I quickly invested in a reflex camera. I realized that I could do many things with a picture thanks to editing programs. My pictures are retouched because I like to put my own signature on them. That’s why I think photography is close to painting or drawing. I would say it’s a nice compromise. I also like old cameras a lot, Polaroids, cheap Holgas for instance. They make very interesting pictures, visually speaking. I am a very instinctive person, and so am I when I go shooting. Anticipation kind of handicaps me; anyway, the idea you initially have is always different from the final result. I only experience and have fun. That’s all. I try to tell stories (witch are not necessary the same for everyone) through my pictures, an emotion, a feeling, share a bit of my inner world... I guess photography is the best way I could find to express myself. I love taking the viewer on board, make him travel a little bit in my inner world, so he can make up his own story, poetic or melancholic... YOU HAVE A LOT OF MUSICAL REFERENCES… I do. I am surrounded by poetry, onirism, violence, homesickness, melancholy, music, fixed and animated images, drawings, paintings... Music plays a big part in my life. I am a guitar player and huge fan of Thom Yorke, Jeff Buckley, Hendrix, Bjork, Placebo, The Cure, Sigur Ros, M, Pink Floyd, Maceo Parker and other experimental bands like Evpatoria Report, The Automn Project, Idaho, Mar... I just can’t live without music! Lots of record sleeves impressed me as a child : Pink Floyd, Rolling Stones, Iron Maiden, Hendrix, The Cure, and more recently Sigur Rós... It’s funny how a record sleeve can have such an impact on your creativity. I’m not really into the music business but I wish I was... I wish I could mix and link my passions, music and photography. Most of my pictures are of squared it a sign? If musicians like my work and are also looking for a photograph, I’m open! DO YOU HAVE ANY OTHER CURRENT PROJECT ? I’m not really thinking in terms of «projects», I just live day by day, catching some opportunities and sometimes force the destiny. I Just want to indulge myself above all.


INTERVIEW YOUR BACKGROUND… In many respects, it looks like a series of hardships. We’ve been playing together for fifteen years. The members of The Fitzcarraldo Sessions (except Arnaud who’s working on a solo album) are also the musicians of Jack The Ripper. Same cast! Cropol, Les Têtes Raides’s trombone player, is also part of the project and has been playing with us for a few years now. We released three albums with Jack The Ripper (The Book of lies, 2001; I’m Coming, 2003; Ladies first, 2005) and toured three times. It was a very nice story hitherto. We gained more and more fans and had more and more money to play the music we had always dreamt to play. And then, at the end of the year 2007, everything suddenly ended. We went through a deep crisis with the band, even deeper than the other crisis we had been through. We even had to stop recording our fourth album which was almost done. Arnaud quit the band too; he wanted to work on his own album. We should have taken a real break right after the Ladies First tour. We should have recharged our batteries, met new people, played with other people and focused on what we really wanted to do together in a better way. But it’s funny now, I really feel like «We hear voices» is our first record. Just through magic and a change of name, we once were war veterans and then turned into beautiful young men! AN AMBITIUOS PROJECT… Really ambitious. Too much, maybe… We have worked on this record for so long. I guess we can’t even realize we did it! Actually, this project is as ambitious than the crisis we have been trough was deep. We had to get over that failure and separation – without being sure it was definitive - , we needed a powerful cure, something that could make us dream enough so that we could go on playing music together. Then we decided not to look for another singer, but rather open our doors and windows, and get out of the traditional logic of a rock band. We had never had much time to collaborate with other artists, so it was now or never. We all needed to take risks. So we had to put ourselves in a certain situation so we could welcome and meet other people and share our music. We had to know if we had the musical sense of hospitality, if a record made of a dozen of collaborations would be homogenic, if we could tour, etc. We remained worried for a long time but never suffered any lack of enthusiasm. We started to work with singers and musicians we know and admire : Moriarty, 21 Love Hotel, Syd Matters and Phoebe Killdeer. The more confidence we gained, the bigger the project was. We wanted to go far beyond our limits. Thanks to the participation of Dominique A, we started to compose in French, which we had never done before. At the same time, we met Craig Walker, Archive’s ex-singer Abel Hernandez, Spanish bands such as Migala or El Hijo, Paul Carter from Flotation Toy Warning and we really wanted to reach international music market. We never understood why singing in English was such a problem in France whereas it’s so common in Belgium for instance. Our project also allowed us to be dreamers again and meet our idols : Stuart Staples from The Tindersticks, Joey Burns from Calexico or Blaine Reininger from Tuxedomoon. This very rewarding project has been really liberating.

Pictures : Vinciane Verguethen ©

YOUR INSPIRATION… Our influences are really numerous and we are so many people in the band that I don’t want to be unfair... Of course, I would say Tom Waits, Nick Cave and Leonard Cohen, but also some records like Tindersticks’ second album, Sackloth’n’Ashes by Sixteen Horsepower, The Black Light by Calexico, Misery is a Butterfly by Blonde Redhead... Fortunately, we don’t listen to rock music only. So I would add Arvo Part, Chet Baker, Schubert, Miles Davis, Billie Holliday, Schönberg, Lemy from Motörhead or Brian Setwer from The Stray Cats!!! It’s impossible to name them all... We also have other cinematic, pictorial or literary influences such as werner Herzog, Jim Jarmusch’s Down by Law, Kubrick’s Barry Lindon, David Lynch, Joseph Conrad’s Heart of Darkness... Yes, Fitzcarraldo is all that! WHAT ABOUT TOMORROW ? It’s hard to say for the moment... Actually, it’s a very particular project and no one knows how it’s going to grow after its release. Everything depends on the way people and media will react on this. In a way, this record will be what they want it to be. But as you can imagine, it won’t be easy to gather everyone on stage and tour, or maybe for a date or two. We would be thirty people on stage plus technicians. Every singer has his own agenda. But the first live experience we had during the Francofolies was so nice that we wish we could repeat – actually half of the singers were on stage with us. So I keep hope. We might have a dozen of concerts in France and in Europe. We still don’t know if our next record will be a second Fitzcarraldo or a new Jack The Ripper... Honestly, we only think about this record for now, and also take some rest. « We hear voices » (Green United Music / PIAS) release on October, 19th 2009.

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Emre Ucar INTERVIEW of the painter Hondo


INTERVIEW HOW DO YOU START PHOTOGRAPHY ? I was born into a family of photographers. My grandfather and uncles were all studio photographers. Even I come from a family of photographers and even I had many opportunities, I wasn’t interested in photography till my university years. I was given a Nikon analog camera and a medium format camera by my grandfather to learn photography, however since it was expensive to shoot films and since I was still indifferent to photography, I preferred to spend my money on beer instead of films. I couldn’t use the advantage of my family’s background. I began to be really interested in photography when I became 22 years old, when I was about to finish my university. Then I attended several workshops, read lots of books about photography to compensate my loss. LIGHT AND SHADOWS If I were a landscape photographer, I would also believe in magical lights like the one during the sunsets and its raising. However since I love the reverse light and shadows, I can shoot during the day. I love to play with the shadows. Shadows tell a lot if you can see it. YOUR PROJECTS, WISHES FOR TOMOROW ? I have a project that I have been working for year. The name of the project is «Faceless». I have been trying to shoot flou (blur -out of focus directly from the camera) face photos in which there will be some hidden concepts in those blurry faces. I try to question the concepts of melancholy, grief, isolation, despair, vanity, violence, self-deception. I want my viewers to ask questions about the photos they see. I do not want to make these concepts so visible. They should ask questions about my photos to understand the concepts that I have tried to express; and then they will begin to see the concepts that have been questioned visible. I love photos in which you alter the physical reality of the scene. I don’t like to shoot what I see directly.


INTERVIEW YOUR CAREER… I started to paint at the age of 14. Trough graffiti, I truly realised how artistic my work was. I kept on mastering the spray to make great outside fresco. At the age of 17, I applied for the art school les Beaux-Arts in Paris, but my case was denied because of my young age I heard. So I went to college. Then I contacted an art gallery in Paris I collaborated with for 3 years. My paintings were suggested for the national acquisition (FNAC), and I did my first auctions. In 1991, I was part of the international artists selected for the «Bomb Art» show At the CRDC in Nantes. Then «Paroles Urbaines» at the Laiterie in Strasbourg in 1996 followed by many more. I travelled a lot after that, made in situ works, all the way to China. I became a lecturer. Today, I follow my personal artistic path, I am also an educationalist and a consultant. My work joined the national collection in 2007 (reunion of the national museums). YOUR SOURCES OF INSPIRATION… Everyday life, human relation to work, human relation to each other, I paint what I feel not what I see. YOUR WORK TECHNIC... A white spotless canvas perfectly spread on a stretcher, a black spray, a direct move, instinctive, spontaneous.


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Issu 10 EN  

Junku Nishimura Sygrid Guillemot Pierre Belhassen Elphin Delphes Lopez Gaele Pierre Solen Last Pauline Franque Julie Badin Yann Le Coroller...