Discover the contemporary work of Léo Derivot
Photography allows me to escape by creating, but also, through the encounters it generates, to change the way I look at my environment, to take a step back from the strangeness of our society. . Two major axes are then revealed: that of creation and that of transmission. I use photography as a language without borders. On the one hand, I have built, over the years, an iconographic corpus which questions the possibility of realizing our individual and collective utopias, but I do not forbid myself any abstract digression free from any constraint. My avowed goal, my ideal, is to compose, thanks to the chromatic and aesthetic force of my photos, spaces of deceleration and reflection.
By dialoguing with various audiences that I initiate, I invest the social and political field, I question our relationship to images, to the living and to others. I choose, more particularly, to meet marginal audiences, in order to co-create spaces of projection, questioning, reverie. I then try, on many occasions, to breathe a glimmer of hope into eyes and minds that are unfortunately too often lacking. This transmission, educational and fun, allows me to confront audiences with the impact of the multiplication of images on the construction of our social imagination. By working more intimately on questions related to their identities and their dreams, I highlight the difficulty for each person to represent themselves graphically and textually, and encourage them to overcome their fears and to “ offer », to « offer oneself » to the World.
The expansion of digital interfaces equipped with screens having refined the boundary between real and virtual, immersing us in an increasingly impalpable world, has disrupted a tranquil and serene vision of the image. The number of still and animated visuals consumed every day continues to increase and imprints a multitude of pixelated fantasies on our overworked imaginations. À Through techniques of retaining intentional movements, staging, shooting screens and light modulations, I construct images rich in colors and textures. I desire, thanks to These photographic behaviors, create playgrounds for our imaginations by calming our too often exhausted gazes. I then try to go against the tide of these multiple illusions of reality and offer myself the luxury of time to think about what is happening. these words from René Char which remind us of the importance of « sovereignly close your eyes » in order to « see what's worth watching.
From then on, how could photography breathe movement into our “dreaming instruments”?
Photography allows me to escape by creating, but also, through the encounters it generates, to change the way I look at my environment, to take a step back from the strangeness of our society. . Two major axes are then revealed: that of creation and that of transmission. I use photography as a language without borders. On the one hand, I build, over the years, an iconographic corpus which questions the possibility of realizing our individual and collective utopias, but I do not forbid myself any abstract digression free from any constraint. My avowed goal, my ideal, is to compose, thanks to the chromatic and aesthetic force of my photos, spaces of deceleration and reflection.
By dialoguing with various audiences that I initiate, I invest the social and political field, I question our relationship to images, to the living and to others. I choose, more particularly, to meet marginal audiences, in order to co-create spaces of projection, questioning, reverie. I then try, on many occasions, to breathe a glimmer of hope into eyes and minds that are unfortunately too often lacking. This transmission, educational and fun, allows me to confront audiences with the impact of the multiplication of images on the construction of our social imagination. By working more intimately on questions related to their identities and their dreams, I highlight the difficulty for each person to represent themselves graphically and textually, and encourage them to overcome their fears and to “ offer », to « offer oneself » to the World.
The expansion of digital interfaces equipped with screens having refined the boundary between real and virtual, immersing us in an increasingly impalpable world, has disrupted a tranquil and serene vision of the image. The number of still and animated visuals consumed every day continues to increase and imprints a multitude of pixelated fantasies on our overworked imaginations. À Through techniques of retaining intentional movements, staging, shooting screens and light modulations, I construct images rich in colors and textures. I desire, thanks to These photographic behaviors, create playgrounds for our imaginations by calming our too often exhausted gazes. I then try to go against the tide of these multiple illusions of reality and offer myself the luxury of time to think about what I mean. these words from René Char which remind us of the importance of « sovereignly close your eyes » in order to « see what's worth watching.
From then on, how could photography breathe movement into our “dreaming instruments”?
