A few years ago, my art teacher handed me a box and said, “Your medium is photography. One day you'll do something about it."
In the box, 241 negatives, probably studio portraits, of anonymous people, dating, according to their hairstyle, their clothes, their pose, from the 1930s to the 70s. It had been left in his office, without further information, while she was teaching in a Parisian school in the 90s.
Who gave him these images? Who was this studio photographer? And who are all these anonymous people? Why had he asked for this photographic portrait? What was their life, their secrets?
The discovery of all these faces was moving, as well as the questions that jostled about them. They sat there, on a shelf, and in my mind for a few more years. Now that I open the box, what are they telling me?
I also want through this work to question the limits of photography, its production process, its reproducibility, its two-dimensionality, its inability to say what is, despite the historical role of witness that history has assigned to it since its invention. . In particular “identity” photography. What do these aestheticized photographic portraits of the people represented tell us? What is the part of truth and the part of ourselves that embroider fragments of history around each image?
My plastic approach will be based on experiments on the silver print process to explore its support, the effects of chemistry, volume and mix techniques from other mediums.