My work as an author and artist deals with the states of culture at the time of the proliferation of images. What exactly do they show us? Without them, it would be difficult to understand the world; from molecular biology to astrophysics, all scientific activities make systematic use of it; they are adjuvants of knowledge. But they can also lie. This is what they do most often. They reveal reality and insatiable producers of illusions.  

 

I had the chance to do my doctoral studies in Art History and Theory with Rosalind Krauss while she was teaching at the Graduate Center of the City University of New York in the early 1990s. A medium constitutes the fulcrum on which any artistic practice develops; this is its moment of truth. In the case of photography, it is the chemical and physical imprint of light on a sensitive surface that embodies this specificity. This observation led her to see the extent of photography in the artistic productions of the 1970s. However, since the recording of reality has gone digital, these are algorithmic codes that represent the world. The traditional naturalist position has become untenable. All methods of exploiting the material trace have also appeared obsolete. What, on the other hand, remains present is the human capacity to react emotionally in front of images. Regardless of the technical means used, photographs remain powerful levers to stimulate reflection. In the absence of references,  however, it is the influence of subjectivities that occupies all the space. It is therefore important for artists to show the facts of the world.   

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Maintaining the current economic and political conditions will have the effect of very seriously endangering the human species and its environment, mainly because it is financial transactions that dominate all the relationships we have among ourselves as well as those we have with nature. My photographs aim to initiate such a moment of reflection on these conditions. They are not theses, nor even questions or observations, but visual suspensions in the flow of images that circulate.  

 

My photographs are inkjet printed on museum quality paper. Prints are limited. The dimensions and the corresponding prices are to be discussed.  

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