This is where the story with the paintbrushes really began.

Having been hooked on my cameras since I was 18, I find myself in Reunion Island, just past thirty, with the desire to do another photo exhibition.

At that time, I had a body of work on the theme of white (a subject that had preoccupied me since I was 17 in Argentina, but that's another story...). I felt the need to print these photographs in very large format, and I had a very clear vision for this exhibition. The problem was that I couldn't find a way to make these large prints within my budget. In fact, I didn't really have a budget. So I mulled over this project. Then one morning, I woke up and realized that, with the few basics I retained from the classes of the admirable Mr. Berthomé, I was capable of reproducing what interested me in my photos: structure and contrast. I went to buy some brushes, some pots of acrylic paint at the hardware store, and a few meters of fabric at Ravate Tissu. And I'm tackling this strange portrait of Rémy Juniet, a precious friend and star of the underground cold wave, whom I photographed trapped by a roll of adhesive tape in the kitchen of my Bordeaux studio in 2007.

It was a revelation for me. I realized the added power of the painting, the overlapping dimensions. I looked for something else. I selected other photographs that resonated with me, and then I was contacted and asked to exhibit...