my interventions on the image, be it accumulation, change of
scale or duplication, my work kept this in common with figurative
photography: it is its natural orientation, with a high and
a bottom, that is symbolically a ground and a sky.
It is precisely this classical orientation which was the last
barrier to be raised in order to attain the goal I had set for
day I was busy around the African basket hanging in front of
my window because the sunlight seemed
to set fire to it. The curtain was almost glowing
while the blades of this Malian wicker were heavily
darkened by the backlight.
knew that a detail could speak louder than a set. I put in the
closest: the sun, the color and a few black lines. What
a time of development!
is probably because this photograph was relatively abstract
that I was able to free myself from the usual orientation. The
sun was not placed at the top but behind. He was not the star
that appeared in the sky, it was a light. The object was no
longer anything but form and color. Thus the compositional play
was naturally released. It was no longer a matter of representing
anything but expressing something, or even simply composing
a form, like a child playing the puzzle.
A second axis of symmetry
made a first symmetry on the vertical axis as I was used to,
I did not want anything else, I did not wish other forms than
those I had under the eyes. But I had the need to extend its
surface. It was then that I realized a second symmetry, on the
horizontal axis this time. My puzzle was over. Mirage!