Pigment prints mounted on dibond and framed. Edition of 7, numbered and signed.

I work on the repair, on the memory and traces of this memory. As a visual artist, I practice the traditional Asian lacquer, which is my material for reflection, the founding principle of my photographs.

I capture these traces by photographing my models in reflection in my lacquers. These lacquered panels serve as mirrors, which erase the line to keep only the sketch. The mirror – a symbol of purity of soul in Japan – often invites introspection. Through the mirror effect, the model emerges from the darkness, perceives itself, sees itself looked and looking…

The image he offers will no longer be his own: triggered at the moment when he lets his thoughts drift, and distorted because of so particular reflection, the image that remains is a sketch, an impression, which reveals these traces, the reminiscences of the past.

In my work, time is important. Time is sometimes suspended, like an image that comes from a dream and of which we do not remember the place or the time to which it belongs. The long time of the lacquer work encourages meditation, the spontaneity of the shot to immediate action. I try to capture this moment when the subject escapes his image and thus gives to see another interpretation of the body, the portrait, the very essence of the subject.

My photographic work takes over time a sociological dimension. My series of portraits ‘DE-SOL-ES, childhood in exile’ created in residency at France Terre d’Asile as my projects ‘Kintsugi, reflets de femmes’ and ‘Kintsugi, âmes d’enfants’ anchor my work in contemporary reality.

Insatiable researcher, I continue my approach of experimentation on memory and repair by practicing the traditional lacquer, the art of Kintsugi, the old-fashioned prints and mordanting.