ABOUT

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If archives are no longer synonymous with memory, if everything can be reinvented, falsified, rewritten, "straight to your face, Mr. Bourdin," then we rearrange the world and deny reality.
We create events, spectacle, placing everything before a backdrop, erasing the horizon and natural light. So-called "important" people arrive on the tarmac. The emptiness reveals the ceremonial and its ridiculousness. These people come from nowhere, their images and bodies lie, and we accept their stories without flinching.

At the dawn of the 20th century, Duchamp's ready-mades became art because the opinion of an influential circle and a market together decided it was in their interest to endorse this view. A century later, this artistic avant-garde would become a political dogma. Those same influential opinions, and especially that same market, also understood that their salvation lay in post-truth.

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Post-truth is an ongoing project using modified photographic archives in post-production, particularly through the addition of fictional 3D elements and a decontextualization of space. The aim is to pervert the primary function of the archive, understood as a witness to history, in order to approach a contemporary lore of current political practices and their fallacious narrative mechanisms. In a context of deregulation born from ultraliberal thought, the notion of truth is no longer a cardinal value, as emotion and counter-truths have become a far less costly and much more profitable arsenal of mass persuasion than a well-constructed and substantiated argument.

The first series stemming from this reflection focuses on photographs of politicians descending from their plane and captured at the moment of their reception by their hosts. The scenes are artificially transferred into a world without background, without horizon, without context, much like their own world, disconnected from the present. These personalities are then excluded from our reality, without a frame of reference and without history. The space itself is also uncertain. Representation systems blend in a disturbing way, with the two-dimensional photograph seeming to unfold on a third axis that has no logic, yet we accept it as a legitimate representation. These images return us to our credulity and our complicated relationship with images, icons, and by extension, the foundational narratives, whether mythological or political.