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.

— 

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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