Cosmogonie
Colour photography
The Cosmogonie series was born of a dialogue between two surfaces, that of an object and that of the photographic image. I chose an everyday object, a stool.
The stool, and more particularly the studio stool, preserves all the traces of the manipulations it has undergone over time, whether appropriate or diverted. It thus becomes the witness and repository of a wealth of uses that impact and modify its surface. As in a mirror game, the object's base provides a reflective base for the viewer's gaze.
Through the choice of framing (top view), a specific setting (excluding the object from any context) and by enlarging beyond its reference size, by making this surface visible and palpable in order to reveal its singularity, the viewer is invited to enjoy a real physical experience.
The pictorial dimension that emerges from the accidents of studio life gives some of them, by accumulation, the appearance of real landscapes, reminding us of the ambiguous relationship between painting and photography since the creation of the latter.
The term 'Cosmogony' reinforces the idea of a universe unfurled by each stool in the photographic space, an autonomous space renewed by the viewer's gaze.