Simon P Laurent

Photography and motion picture: same as breathing like a heartbeat. More than a necessity. Somehow, it enables me to talk about my fear that torment deep inside, maybe to be more in peace with myself, and being more accepted by the others. That’s what I hope so. Anyhow, it helps to understand the world I live in. What else could I do? I have never thought of any other possibilities

STATEMENT

First of all, I'd like to say that my works are based on reality observation and my journeys. Philippe Poirier, musician and filmmaker, said my pictures are mostly accessible and he's got a point... I take some elements of nature and towns. I select certain details, reproduce them, and reject some other...Paradoxically, I like to experience the fear when I see nature collapsing under my eyes: I see so many overwhelming moments (stormsfor instance.) I also like to immerse myself in some European cities that now tend to look the same ( globalisation, lack of identity ) My pictures portrait also my deepest emotions and recessed stories related to that fear.

Some of my works are clearly inspired by "Picturialism"; French naturalist photography but also, and to a certain extent, by surrealism, and by my fondness of architecture: B and H Becher have blown my mind, even if their style are not visible on my pictures.

Most of the time, I use several techniques; including argentic photography and digital photography. The digital production I engage in can not and does not have to be conceived as a single pure medium. Unlike artists who work exclusively on and through the Web, the following images exist outside of the digital system that produced them... In this way it's also possible to keep the photography for what it is. Sometimes I like to mix my photography with other techniques,such as pastel, to make patchworks or collages

According to critics, my works is pleasantly thought provoking and extrem altought accessible ( at least, for the moment being ) : I think it's important to attempt to make sens of the Chaos of the world. Modern techniques allow me to work with several layers within a single artwork. Then, I define a new temporality to the image. It's also important that the audience feel challenged by what I do. I think that an artwork exists because it can engaged with someone. Viewers are never mentally still in front if my photographs.

Art In Mind – 26th - 30th April : London - UK ( 2007)