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 In order to escape photo journalism, artists grow to use photography as a critical instrument to create distance toward an object, with the camera as a machine to fictionalize reality and a referent for a conceptual approach. In doing so it leaves behind the objectivity criteria that was fundamental to traditional documentaries. Rather than inscribing itself in a supposedly pure and autonomous field, photography intersects the plastic arts plane.  


... is not the simple reproduction of reality. The photographic undertaking is broadened to include the shooting performance, printing technique, printing medium, computerized touch up. Color and large format are often utilized. The image is constructed according to an artistic project plan, from conceptualization to production, to finish with its mode of exhibition.    
 Plastic photographers are of two kinds: those whose process eventually brings them in the realm of contemporary creation, and those who incorporate photography into their creative process. These transformations of the photographic status are also brought by technological revolutions: the advent of computerization and the evolution of the art marketing where photography now holds its own ground.

Takes place in this perspective.
Starting with a professional photographic activity, I have developed in parallel an approach that has brought my work to the level of an artistic production. It is this evolution I present here through three "photographic galleries."
 PORTFOLIO: images produced over the years, with no apparent tie in between them.  
 THE BURQAS GARDEN: a series on the covered, "winterized" statues of the Versailles garden.
I SOILED MY STREET: Present work on urban refuses.