Cervantes is among Us.
Cervantes is Among Us is a multi faceted photograph metaphotrically illustrating the fearless aspect of Quixote, the single man who is not afraid of facing the giants, the untamable who will not comply with other than what his conscience dictates.
Pigment ink on rag paper.
Local Jaws shows an alligator where there is none, although somewhat on the edge of doubt, establishing the existence of a quixotic dimension in most of us.
Pigment ink on rag paper.
I have unfortunately often felt that I was some form of Don Quixote, fighting forces stronger than myself, although probably not imaginary ones. To the point that I have contemplated having a life-size sculpture of Cervantes's character in my front yard, only I cannot afford it. This might explain why many of my photographs relate with themes characteristic of Cervantes’s book, as I discovered talking with Rafael Osuba. Cervantes is Among Us is the most obvious, a multi faceted photograph metaphotrically illustrating the fearless aspect of Quixote, the single man who is not afraid of facing the giants, the untamable who will not comply with other than what his conscience dictates. Dulcinea is in the book just like here a relative abstraction symbolizing the absolute of love, here with especially Spanish colors. Local Jaws shows an alligator where there is none, only it is somewhat on the edge of people’s doubt, establishing the existence of a quixotic dimension in most of us.
I am a hunter and tamer of images. I am not a farmer, I am not a painter, I don’t raise my images. I choose to hunt for my iconography because photographs captured in the wild have that intense flavor of truth that I find so suiting to our modernity. I am only interested in photographs empowered by a strong sense of reality. I try not to do again what has been done before. Contrast is only second to composition which is paramount, and images need to be able to withstand the most rigorous technical examination, all at the service of emotions.
I am a “decilleur professionel,” which means that my job is to show people what they cannot or do not want to see.
I do my own framing as nobody can devote to it as much customization as I do. My frames are done with moldings that I mill, assemble and finish with organic oils. I only use Museum glass, and 8 ply mat when a mat is involved.
My prints are signed and numbered in the back. I do not believe in limited editions which is a gimmick creating artificial scarcity and is anathema to photography It is unethical and bad for art, artists and collectors.
I am a photojournalist who works for the wall, not for publication. I work in the classical French school style–think of Cartier-Bresson, Doisneau, Willy Ronis, Sebastiao Salgado–but I was also influenced by the American West Coast part of my photographic heritage through Denis Brihat, my mentor. Brihat is the spiritual heir of Edward Weston and has carried Weston’s approach to photography a couple of notches further.
And after all this, some might say that my uncompromising aspirations are a bit quixotic, which is reflected in a number of my photographs, hence my presence in this show thanks to Rafael Osuba’s vision!