Impressionism as an art movement takes its name from the contemptuous judgment made by a critic after seeing Claude Monet's "Impression Soleil levant" at the first Impressionist exhibition held in Félix Nadar's studio in 1873.
Zéro is a photographic project that intends to deal with the theoretical foundations of Impressionism.
Revisiting the work and places of the Impressionists to arrive at a radically specular point.

If the term impressionism comes from the performative definition of the painter who translates his impressions of a landscape, a social event, or the features of a person by means of a rapid gesture and touches of color which define the atmosphere intimate to his feelings, the meaning of my photographic research intends to visually define the very moment when the reflected light imprints the image of the scene on the sensitive matter.
The zero point of the image. The antithesis of impressionism, in the wake traced by Straight Photography in America and by Hilla and Bernhard Becher and later by the authors of the Düsseldorf School, as well as by the German artist Vera Lutter and the Chinese Shi -Guroi who develop their research with the help of the Camera Obscura.
Here, the zero stage of the image is not the intention of the painter but the starting point of the "mechanical" vision of the device. Obviously, this is provocative because the vision is never really objective but always owes something to a subjective gaze.
In this context, and with Normandy as its subject - a region known throughout the world through the eyes of these impressionist painters -, I would like to propose another vision, as antithetical to the one with which we are used to thinking of it.

For the purchase of fine art prints in two formats
50x70 or 70x 100 write to this email address
sdlffu@gmail.com