I am a self-taught photographer and I began my photographic journey as a Street Photographer in Paris (France) in the early 90's.
My practice went from Street Photography to Landscape Photography when I came to the States (1996) in the Washington DC area after introducing myself to the works of Edward Weston and Ansel Adams to later rediscover in a more comprehensive way the works of Paul Strand.
Then I went back to practice Street Photography but with an emphasis on Documentary when I spent , shy of a few months, four(4) years in Cotonou, Benin, West Africa (2001-2005). All these years I worked mainly in Black and White but started using Color more and more because it was more practical getting the films processed in the photo labs over there.
Coming back to the States after that period had me redefining my photography and experimenting a lot with color and shooting more and more with digital cameras which marked my total transition working exclusively in Color. And to work in Color meant that you had to get to know a bit more about Light, how these two work together, influence each other.
Focusing on Light widely opened up the scope of my practice in terms of subject matter, even though color can set limits to what is workable because of its demands as well as photography's demands for clarity and harmony. In 2010 Light has consciously become my main subject. She directs my gaze and I employ myself to stage her the best I can.
"What is the nature of this invisible thing called light whose presence calls everything into view-excepting itself"
A quote from a book (I have yet to read), Catching the light by Arthur Zajonc.
The shortest answer for me at the moment is "Magic!" and of course "Powerful!" and "Forgiving".
The moment dictates not the subject. The moment is one of revelation and revelation comes through the light.
Light falls on everything without being prejudiced. Light harmonizes things of different nature.
In practice I find myself attracted to compose visuals with multiple layers to illustrate the richness and the complexity of life, and minimalist compositions to extract the core essence of things.
I have inscribed my practice into the fabric of my daily routines which allows me to affirm a better connection to my immediate environment, to my life.
Through the works I probe how far I can stretch my photography and subsequently I come to know what it seems to be reduced to, or limited to at a certain time in my life, somehow meeting face to face with my own growth, my own limitations, my own definition of self but also the limitations of my environment.
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