Mes images sont souvent abstraites ou floues. Elles l'ont toujours été. J'ai toujours été attiré par les images dans lesquelles on perçoit le temps, une impression, un décor qui défile, la fébrilité d'un corps qui bouge ou d'une main qui appuie sur le déclencheur. Comme si ce qui m'attirait était ce que je ne pouvais pas saisir complètement. Percevoir le temps qui passe plutôt que de scruter chaque détail d'un arrêt sur image, contraint, posé, irréaliste. Comme la couleur triviale de la réalité, la netteté me semble triviale et dépourvue de sens ajouté.
yako accepte et magnifie les imperfections, les erreurs, les glitchs, donnant crédit de co-création à la technologie et simplifie à l'extrême la prise de vue photo. L’utilisation d’une technique « tout à la prise de vue » lui permet de capturer des images qui évoquent des traces de la mémoire plus qu’elles ne traitent avec le présent, dans une réalité « grainy, dirty and fuzzy » inspirée de Daido Moriyama et Michael Ackerman.
The images of yako are blurred. They always have been. He has always been attracted to images in which one perceives time, a scenery that passes by, the feverishness of a body that moves or of a hand that grasps. As if what attracts him is what he cannot completely grasp. To perceive the time which passes rather than to look at the stop on an image, constrained, posed, unrealistic. Just as color, realism and sharpness seem trivial and devoid of "added meaning" to him.
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It is during his collaboration with Michael Snow, when he discovers Plus Tard (1977), a museum installation that stages 25 photographs of well-known paintings "seen in passing", that he understands the contribution of the place and the visitor, who wanders more than he dives, in the experience of the original work.
Devoid of actuality and realism, a little more abstract, these photographs act as a No Comment, leaving room for an eventual awakening of the viewer.
yako accepts and magnifies imperfections, mistakes, glitches, giving credit to technology for co-creation and simplifying the photo shoot to the extreme. Using an "all-shot" technique allows him to capture images that evoke traces of memory more than they deal with the present, in a "grainy, dirty and fuzzy" reality inspired by Daido Moriyama and Michael Ackerman.
In his latest series, yako explores photographic narrative. Inspired by the work of Duane Michals (staging, captions), the Topo Agency (Photo Roman) or Chris Marker (photo film), he finds in the assembly of so-called still images or in the interstice created, what Sergei Eisenstein described as an added meaning that the assembly of two distinct sequences gives rise to: one of woman, one of man. Between the two, the feeling of love.
It is with dance, and more precisely in co-creation with Frédérick Gravel and Carol Prieur, that Yako questions the reality of living art that he tries to capture, without freezing it, in series of "choreographic portraits" and research/co-creation that mix choreography and photography "in movement". It is a question of placing the sensor (the point of view) at the center of the scenic device with the dancer, both participating in the choreographic writing.
Translated with DeepL
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