A meditation on photography
“I wanted to make something that looks like me … that bears the mark of my hand. And that shows the entire process as a photographic event. My work is a form of meditation on the landscape but also a meditation on photography. “ His inspiration, he says, comes from the first color photographs by Edward Steichen. But also in the approach, of Lewis Baltz for his outlook on depression and residues of American industrial society. The color treatment can make us think of the work of William Eggleston, especially in his Mississippi series.
“When you photograph the south (of the US), which is the region where Eggleston is from, it is difficult to make images that do not refer to his work … It’s hard to escape as he is dancing around you ( “he’s dancing around in the landscape”). He also used a very commercial process of color photography and made it something special. It is one of the first “color fine art photographers” and somehow his pictures because he was the first to use these red, are an absolute event: you can not not refer to it while back there. Similarly, in my process, the paper is not a collection paper. It is a commercial paper for industrial use and I use it for artistic purposes because of its conservation quality, and its high saturation, … So there is a similarity to that level … it’s a little bit the same approach as it has a research of color saturation, of commercial paper used for artistic purposes. “