The project “A Family Album” is part of a cross between two practices. The images of base are collected in family photo archives, either purchased from flea markets and from my personal archives.
Both sources have the same status in this work, the goal being to come up with some sort of “generic” album, find pictures that everyone could have. Then I use digital retouch in a non-illusionist way (I create textures
in the sets, I add toes, some objects are levitating, I generate impossibilities of perspective …). Some edits are more visible than others, but the goal is to create a slight shift that makes the scene is not “realistic”. Retouching finished, I have an image bank in which I will draw differently according to the mode of diffusion.
I made a 1m25 book, produced a makingof video, and edited a portfolio of a twenty images at Gallery 2600, of which I am a part.
The purpose of this portfolio was to create silver prints in a format similar to the original ones.

Léo Aupetit’s uncompromising photography is a reflection of his time and he captures its excesses in a frontal and intrusive way. Stolen pictures, often with flash, the artist does not hesitate to get closer to his subjects, often strangers. His trash and festive aesthetic is both present in his way of doing and that of disseminating his images, he rephotographs his computer screen, re-affirming his style. This process also creates a second image layer, adds a meta dimension to his images, reminds us that today everything goes through screens. Young and impertinent, he has the audacity and the outspokenness that open many doors for him. With humor and provocation, he doesn’t wait for his photographies, he will look for them: life transpires from his images.

For more than 10 years, Feng Li has been working on his unique serie «White Night». At the same time artist and independent photographer for the communication department of his province (Sichuan, China), he has a daily practice of street photography that approaches more marathon than sprint. For having seen him at work in Arles where he was invited to exhibit and continue his serie during the opening week of the Rencontres festival, it is a very bodily report that I have seen, a gesture that precedes the event. Feng Li has a hallucinating ability to «feel» that something will happen in terms of images, and shoots almost blindly. His photography, direct, very close to his subjects (often strangers) with a flash that crushes the ambient light to give an impression of night in daylight contrasts with his character, soon fiftieth and rather discreet. He practices it in the manner as an athlete who prepares for the Olympic Games, with rigor and discipline, which creates a contrast with what happens in his pictures, the joyous strangeness of everyday life, the organized chaos where he manages to capture intense moments. With his approach of subjective street photography, he manages to bring a breath of fresh air and establish himself as one of the most important contemporary Chinese photographers.

For three years, I lived in Arles, France. Twice a week, one of the biggest markets in the area takes place. When it ends, there is still a lot of edible food thrown in the trash. This work represents a portion on one day’s waste. I did not see anyone pick up anything on this day. Wasting food is what Europeans do with our common ground. As I am involved in post-photography (an attitude that assumes the digital part of photography, using artefacts and repetitions, without trying to hide the digital materiality), I will represent the waste of one single day in one large digital collage, using what people throw to transform it into something else.

Melchior Tersen is a Parisian photographer. He takes pictures with a direct style (snapshot aesthetic, often with flash, always analog) borrowed from the popular culture of the 90s. Rap, fast-food, mangas, tags : the artist documents the violent tenderness of a suburban daily life. Deeply inspired by the pre-internet era, of which his generation is the last one, and which he describes as romantic. From this childhood of the 90s, he kept a passion for the collection. Metal patches, scarves and stickers of PSG (Paris football club), celebrities that he manages to approach with a resurgence of a fan attitude, dead since the Internet allowed some fake sensation of proximity. Also fashionable, he collects T-shirts and shoots occasionally for sportswear brands and for the press. It synthesizes for me the sensitivity of people living in the suburbs of the capitalist system, and the way they make their dream come true, without compromise, without artifice and with a deep sincerity. It smells stairwell, erotic magazines, joints in front of the playstation: the France in which I grew up.

Kyle Berger is a Canadian artist who documents North American imperialism through a post-photographic grid, using it’s own weapons against itself.

He uses digital editing in a visible and assumed way, bringing out the most superficial aspects of our society. Abuse of communication strategies, marketing, Kyle uses the logos and signs of the biggest companies that have invaded public spaces. It transforms this visual pollution in a poetic way by juxtaposing and encrusting them, revealing in a certain way the dream of communicating marketing to come in an ever more intrusive way in our daily life.  His full of humor, colorful photos show a digital revival of pop-art, where the consumer society deploys its absurd logic, like the splendor of the emperors before the decline of Rome.

Video made in New York, during a three-month postgraduate degree at the International Center of Photography (ICP) between October and December 2015, and two weeks in November 2016.

Having lived only in small provincial towns before this post-graduation, I was particularly surprised to find myself in this gigantic, monstrous metropolis, with a huge flow of people, energy, money. His enormous constructions, the different strata of recent history that pile up and remain visible, like layers of paint first price.

I observed a dialectic of construction and deconstruction, power and fragility.

To account for this, I used an animation technique that I developed, by diverting the tools from photoshop, to make the animation image by image.

I wanted to create a massive object, like the city, an hour.