Sometimes I happen upon work with little or no descriptive statement attached, and I remember how important it is to look at photographs and artwork without knowing any of the artist’s intentions or background information beforehand. A short statement for the first series, translated as The Monkey, the Giraffe, and the Scarlet Ibis, contains the line, “these somewhat unreal images plunge us into a sense of sadness and delight… beauty rubs shoulders with boredom and loneliness.” Particularly in the case of the second series, Panic, I appreciate the allure of knowing only little or nothing of what’s going on.

From an interview on Landscape StoriesI like the ambiguity of the representation. Is it living or dead? Real or not? It’s also a pretext for a portrait, and it’s particularly motivating to be able to create a bridge between a dead animal and me, almost like managing to establish an impossible dialogue. I use the framing and lighting to try to feel the breath of the animal, despite its immobile, dusty state. I like reaching for the resonance and vibration of things.

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