The 2000s and the following years were marked by a return to color photography, which I had abandoned since the 80s for essentially technical reasons, knowing that techniques, here as elsewhere, also condition aesthetics and vice versa. A change in the format of the shot, the digital processing of analogue images, the discovery of inkjet printing, but also the more assiduous attendance than ever in these years of painting rather than photography, determined this turning point. It is once again the feeling, experienced in the years of initiation, of discovering photography, years of enthusiasm after the long depression of the Glory of the World, and of giving free rein to what will be from then on my "colorism" imposing on me more than ever, the choice of places, decorations, fabrics, wall colors...

What fascinates me then is also the extreme illusion of presence that the photographic medium provides and that color photography, which could be said to be to black and white what painting is to drawing, accentuates. What I will call the evidence in the title of the series The Evidence of the Body (whose shots have been intertwined with those of these familiar landscapes) is above all that which this colour provides to photography, as opposed to a certain abstraction of black and white.

But also a reappropriation of the square format, whose specificities can never be said enough, a format that had been the one of my beginnings - the chest viewfinder, which I have always liked (another excellent example of mutual technical/aesthetic conditioning), was already present since 1981 on my cameras.

The Paradise Lost, Zones but also Fugitives and The Evidence of the Body were these series of discoveries again. >>>>>>>>>