Migrations is a visual and plastic experience that studies migration as, in a broad sense, the totality of the phenomena of displacement, and the transformation of beings related to the natural life cycle. Migrations are seen as geographical flows driven by economic and political imperatives, but also as temporal flows where the individual finds himself confronted with the power of life cycles - reproduction, birth, aging, death. Biological cycles (individual), and displacements of populations (social) are thus on the same level, both revealed to be natural and imperious mechanisms that intermingle. Nature and society are revealed both in all their splendor and cruelty, a perpetual renewal of desires, of hopes, deaths and transmutations.
To give substance to these flows, which are subject to the laws of the social and natural sciences, I draw from my previous experiences as a reporter. I work at the border between reality and fiction, using abstract and figurative aesthetic components. My visual productions deploy narratives inscribed in the rhythms of life, revealing a universe whose stakes are centered on man and his context, and inviting the viewer to participate in active memory, and a different reading of social dynamics. The Migrations project alternates between plastic and documentary forms, addressing current geopolitical topics with images that reference biological sciences. These two elements are intended as a political artistic act, emphasizing the inability of our society to accept violence, both that which it undergoes and that which it generates. While physiological "invasions" of organic bodies escape the control of society, these very societies engender conflict and distress within the collective human body that is humanity.
The individual, anonymous in my portrayals, is erased in favor of the forces that prevail. Even in the case of death, I use plastic elements to obscure identifying traits, and thus reveal the fragile condition of the social body - as in Reliques Actuelles, where the images of washed-up migrants come from the anonymous flow of rights-free content on the Net. Deprived of a face even before artistic intervention, these beings are the best indicators of a society’s intentions, one that reduces them to a place with no exit.
