Profession: Public photographer

Photography, although a form of artistic creation, is also often a "solitary" activity. In effect, its role in our lives becomes that of a memento mirror, capable of capturing any moment of our existence before it is fully lived. Paradoxically, photography as a means of producing enhanced visibility hinders us from seeing fully and renders us invisible.

For several years I have been designing photographic devices or installations "to be lived". Convinced of the ancestral role of art in social life, I regularly set up projects in which the individual and the collective intertwine. (Hôpital Louis Mourier in Colombes; Centre socio culturel les Fossés Jean in Colombes; Rencontres d'Arles 2015 for Leica Camera; Rencontres d'Arles 2016; Hôpital Bretonneaux in Paris; Collège Jean Vilar in La Courneuve; collaboration with Musa Decima in the corporate world; Festival Fictions Documentaires 2018 in Carcassonne ...).

I experiment with the idea that photography can yield shared moments, participative micro "performances". With the possibility of escaping the traditional dichotomy between what is art and what is not. With the hope that daring attempts in this direction have a chance, however small, of "unsettling" our attitude as consumers of cultural products and our expectation of entertainment towards any "art-derived" product. Could we acknowledge the "seriousness" and the significance of the frivolous? "A game is an active and creative force," wrote Huizinga, "it is above all an unrestricted action. Essential to the community for the social links it creates, it remains outside direct material interest. Art makes it possible to go beyond boundaries that often separate human beings in their natural organisation. During the artistic experiment the spirit loses all appetite for distraction... One plays with the utmost seriousness. I reiterate the shared artistic experience as a realm of freedom.

Each device has a space and time of its own, which creates a temporary world where the "game" unfolds until the end. The piece exists in its execution.

One device: the Box and self-photography. A sort of mobile shooting studio. A different kind of photo booth conceived as a modular space that can be transformed if necessary. A single module can hide a myriad of possibilities that materialise through minimal adjustments.

Can art with no artist still be art? Were certain rituals and popular festivals devices of popular art?

Photography is working on the "trace": through photography one can explore the question of time; of perpetual movement, of presence and absence. For me, photography is above all the place where all opposites can coexist and variability can be freely explored. Most importantly, it provides us with moments of transition between singularity and universality.