MURS MURS
These photos represent in a way abstracts coloured walls.
The wall, usually used as support, becomes here the photographed subject. Centred tightened, it is given to see, but is not perceptible at once. The photography becomes an abstract image where the important is not the subject, but the composition, the colour and the material.
This series is neither completely abstracted nor completely representational; it walks on the border between both categories.
At the beginning, the wall can appear as a simple masonry work, in clay, or wooden, which in a vertical plan serves to fence in a space, to support lands, to constitute the sides of a house and to support floors.
But by looking a little further, I realized that the wall exceeds this definition to become the symbol of the history, because the old wall reflects a past and tells the story of its way.
The track of past shows itself on the wall in forms of graffiti, imprints and used materials. These tracks illustrate events and reflections, and even feelings. These tracks are sometimes forms of expressions: all which is taboo either forbids is represented in secret on walls. All this give to the wall a new role: he invites to express himself, to let off stream.
They are the confidants of the time which passes in alleys, and in their entrails, the memory is printed, printed by the taste of every day, indefatigably, the old walls, their ears are the memory of the city.
This way, walls are all different between them, but also distinguish themselves from walls of another city. If they are the memory of our world, they are also the messengers of our culture.
Through these photos, I want to show my sensibility for the cities which I crossed during my journeys. Far from the usual images, it is a question of showing the small interesting details, the micro-atmospheres, the textures and the colours of these cities.
The wall, usually used as support, becomes here the photographed subject. Centred tightened, it is given to see, but is not perceptible at once. The photography becomes an abstract image where the important is not the subject, but the composition, the colour and the material.
This series is neither completely abstracted nor completely representational; it walks on the border between both categories.
At the beginning, the wall can appear as a simple masonry work, in clay, or wooden, which in a vertical plan serves to fence in a space, to support lands, to constitute the sides of a house and to support floors.
But by looking a little further, I realized that the wall exceeds this definition to become the symbol of the history, because the old wall reflects a past and tells the story of its way.
The track of past shows itself on the wall in forms of graffiti, imprints and used materials. These tracks illustrate events and reflections, and even feelings. These tracks are sometimes forms of expressions: all which is taboo either forbids is represented in secret on walls. All this give to the wall a new role: he invites to express himself, to let off stream.
They are the confidants of the time which passes in alleys, and in their entrails, the memory is printed, printed by the taste of every day, indefatigably, the old walls, their ears are the memory of the city.
This way, walls are all different between them, but also distinguish themselves from walls of another city. If they are the memory of our world, they are also the messengers of our culture.
Through these photos, I want to show my sensibility for the cities which I crossed during my journeys. Far from the usual images, it is a question of showing the small interesting details, the micro-atmospheres, the textures and the colours of these cities.
