Inside this issue
The High Moor
I went into photography pretty early, as a kid, with disposable cameras. Year after year, that took a more important place in my life. Quite quickly, it became primordial, passing from simple tool of testimony to a real medium of expression. My pictures turned globally around nature, until I discovered the Pyrenees mountains by setting in southern France during the summer of 2011.
In August 2018, I was travelling in middle France, searching for inspirational places, as there are many highlands there. I eventually came across these ones, they were one of the most isolated areas I've ever seen in this country, apart from the high mountains like the Pyrenees or the Alps. I always was really attracted by this kind of barren, windswept and uninhabited landscapes.
There is something really cinematographic in them, and this was exactly what I was looking for. So a few months later, at the end of the winter, in March 2019, I decided to go back there. There was still snow patches across the moors, a glacial north wind was blowing strong, and swarms of birds were waving under a darkened sky, only pierced by rare rays of light. The scene was reminding me of Andrei Tarkovsky's movies, Andrew Wyeth's paintings or the atmosphere of some series like Fargo or True Detective. So I kept these influences in mind and started a series to transcribe the ambience of these forgotten lands where almost no one lives, which I call the High Moors.
I went into photography pretty early, as a kid, with disposable cameras. Year after year, this art took a more and more important place in my life. Quite quickly, it became primordial, passing from a simple tool of testimony to a real medium of artistic expression. My work is now mainly focused on wild landscapes, but also strongly influenced by cinema or painting, and increasingly including a bit more human elements.