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Presentation :
In general and to summarize
Poetic images are the writing of poetry in images.
Literal poetry bases the unity of the world on analogy. My photographic
work takes these foundations and attempts to apply them to images. Just
as literary poetry is a dialectic game based on the association of ideas,
small human interventions of the photographed environment create the dialectic
in my images. The spontaneous apparition of a visual correspondence in the natural
environment, reflecting the phonetic correspondences of poems, guides these
interventions that are visual rhymes.
Even if the poetic images are based on meticulously constructed "mises en scène"
they reveal a certain "decisive instant". In fact, these " mises en scène " have
been set up in order to recognize and freeze the furtive and spontaneous apparitions,
at the meeting point between the natural forms and the light that reveals them, in the
opening that allows the "decisive instant" to exist.
Each image can be understood as a partial interpretation of a "territorial"
area determined by the frame of the photograph at a given moment. This is why each poetic image
carries the name of the time and the place that it was conceived. A poetic image is a sensitive
and very incomplete interpretation of a place and a given instant, though poetic images taken in
the same area complement one another, answer each other and fit together. With the accumulation
of images the interpretation of an area, a " territory ", is as enriched as it is dissipated.
Through the accumulation of my photographs, I propose the sensitive representations of a " territory ",
at the same time sharper and more indistinct.
For " les artpenteurs ", I would like to construct an interpretation of the wood in
5 poetic images, between May and June this year. These images will be produced during successive
visits to the wood in this period. Two months seem a short time in terms of what I " make "; however,
these 5 images are what I would like to present this summer. On the 12th of April, I exhibited 3
interpretations of the " col du cheval mort " (Margeride); these were what I had available at that
time. The black plastic that protected the digital images from the rain were not extremely attractive:
how to avoid their use during the summer? Dominique proposes the use of posters, pasted directly in the "
bois des artpenteurs ". This would bring the photos even nearer to their environment. It seems like a
good idea.
To be continued.
Gabriel
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