I came to believe that life and work are intertwined. Through years, we go from circle to circle, when we finally reach the point where we started from.
In my case, it all began with portraits. There is obviously a connection to be found between Studies/Humanities and the portraits I used to make on Wednesdays afternoons in the 70s. I arranged a studio with Fresnel or plano-convex lenses, I was sixteen and the discovering of photography fascinated me. One after another, girls were coming into my tiny room under my mother's watchful eye. These are the pictures I called Primitives.
The shadow and melancholic shades break with the previous works (The revenge of the flesh or In Praise of love) characterised by a half tragic, half dyonisiac pleasure.
Here, colour is almost monochrome and light is turning into chiaroscuro. Nordic light, recurring model's poses, brief staging, models I don't want to choose, I take them the way they are, little or no sentiments at all.
I could hardly explain it. Stiffness may be up with the times, past experiences of life and photography. A certain sadness of the world, and at the same time a remaining and obsessional quest for truth inside bodies, faces, skins, and human beings.
Truth is inscrutable, surly and unceasingly evading. Yet beauty and grace appear, during very short and privileged moments.
Wait. Hope for the splendour of the flesh . >>>>>>
|press review||1975/1985||2000/2002||2005/2010||2013/2017||Noir Limite|
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