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If, since the nineteenth century, photography has captivated countless authors, painters and writers alongside photographers and has fuelled various artistic movements, the avant-gardes having contributed to its autonomy, only few of these avant-gardes can boast of having made use of photography with the same consistency and the same variety as surrealism.
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‘For thirty years he has been using photography to record, without ever denying himself, a little theatre that has been set up and taken down a hundred times over, like the trestles that the wandering entertainers used to carry with them from town to town. His whole world is here, held in these objects found in the depths of drawers, forgotten, ground, mutilated sometimes, embellished with the words he places beside them.
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When its scientific mission comes to an end, a satellite in charge of monitoring climate falls up to 28.000km/km on a devastated Earth. In its mad race, it meets a operating guide for Pelerin, an apocalyptic tourism agency that offers survivors expeditions to thrilling places.
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He works with images in the broadest sense of the term, since as well as photography, this resourceful young man continues to draw, but also turns to video and performance art as and when he feels the need.
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