• Q&A/Corridor Elephant/Asca
• 1.Quelle est la part du rêve dans vos photos ?
• 2.Pourquoi choisir de capter seulement des silhouettes ?
• 3.La photographie doit-elle transformer la réalité ?
• 4.Établissez-vous un rapport entre la photo et le lavis ?
• 5.Pourquoi l’arbre est-il un personnage essentiel dans nombre de vos photos ?
• 6.Vos photographies définissent-elles une vision du monde ?
• 7.Peut-on dire que la couleur est votre marque de fabrique ?
• 8.Les différents pays qui servent de cadre à vos clichés jouent-ils un rôle dans vos créations ?
• 9.Y-a-t-il une mise en scène de vos sujets ?
• 10.Pensez-vous au spectateur de vos photos lors de vos créations ?
• 11.Quel est votre parcours photographique ? D’ou venez-vous ?
• 12. Vos photographies cherchent-elle un « réel » non visible?
• 13.Vos personnages ne sont jamais nets, est ce l’individu que vous photographiez ou le genre humain ? Pourquoi ?
• 14.Pour vous, qu’est qu’une photo réussie ?
• 15.Que conseillerez-vous à quelqu’un qui souhaiterait devenir photographe ?
• 16.À votre avis quel est le principal changement engendré par l’arrivé du numérique en photographie ?
• 17.Les univers que vous photographié ne semble ancré dans aucune époque. Comment percevez-vous la notre ?
• 18.Y-a-t-il un photographe ou un artiste avec qui vous aimeriez travailler ?
• 19.La photographie porte-t-elle une notion de solitude ?
• 20.Qu’auriez-vous fait si vous n’aviez pas été photographe ?
• 21.Y-a-t-il quelqu’un ou quelque chose que vous aimeriez photographier ?
• 22.Avec quel matériel travaillez-vous ?

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1. What part of the dream in your photos?

2. Why only pick silhouettes?

3. Does the photograph transform reality?

4. Set up a connection between the photo and the wash?

5. Why is it the tree a key figure in many of your photos?

6. Your photographs they define a worldview?

7. Can we say that color is your trademark?

8. The countries that frame your shots do they play a role in your creations?

9. Does Is there a stage of your subjects?

10. Do you think the viewer to your photos when your creations?

11. What is your photographic journey? Where are you from ?

12. Your photographs she looking for a "real" not visible?

13. Your characters are never clear, this is the person you are photographing or mankind? Why ?

14. To you, what a successful photo?

15. What would you advise someone who wants to become a photographer?

16. In your opinion what is the main change brought about by the arrival of digital photography?

17. The universe that you photographed seems rooted in no time. How do you perceive this?

18. Does Is there a photographer or artist that you would like to work?

19. Does The photograph bears a notion of solitude?

20. What would you have done if you had not been a photographer?

21. Are there was someone or something you'd like to photograph?

22. What equipment do you work?

1) “The Dream,” is a reference to, “life.” Being one of those individuals captivated by and devoted to the sciences and nature from unadulterated youth as well as global philosophies with the ensuing maturing years I am ever perplexed by those profound questions, with no answers, “From where have I come, truly…,” “If the “Big Bang,” what preceded the “Big Bang”…,” “If there is a, God, from where did God come…” Recognizing the limiting years of human mortality, our manifest incarnation, it comes to me that “life,” existentially speaking, is as a dream, literally and figuratively, albeit a dream of years, a “lifetime,” not simply a good night’s sleep... There are no answers to those most profound of questions, only mystery and experiences hence, “The Dream.”

In practicing film photography I prefer to effect “seconds in time or fractions thereof” through imaginative observation. Combining manipulation of lenses, films, spontaneity, the elements of nature and my breath, no tripods, I seek to capture my global subject matter withstanding the tests of time and modernity yet illustrating and documenting contemporary humanity, history and planet. From this template, metaphysically and artistically speaking, in attempting to “time travel” my viewer to an alternative time and space I recognized that to convey that sense of “time travel,” on film, demanded that I approach my subject matter on a plane of surrealism hence the, “diffusion,” or, “flou,” offering no “points of clarity” i.e. “reality” other than the veritable reality of the suspended moment translated to film, a sense of timelessness, my “dream state.”

2) The approach towards my subject matter on a physical plane references my infatuation with the sciences, most notably physics… In attempting to convey life and structure as vibrating matter, essentially energy as atomic structure, my direction and focus with regards to the human element lends to silhouettes as spontaneous “portraiture.” In essence, whether static or in motion the intent lends to representing the human being, physically, visually, as referenced vibrating atomic structure reminding the viewer that although we appear seemingly corporeal, manifestly, in “reality” that notion is but an illusion, existence on an atomic plane is energy in perpetual motion albeit lending to “invisibility” on a human scale, innately speaking.

3) Foremost I would venture the transformation of reality begins with the imagination, the camera/lenses/film are the tools to manipulate reality, but, in truth “reality” is “reality.” That is one of the many astonishing and endearing qualities of photography, it is a medium that actually, “stops time,” literally and figuratively, capturing and representing a glimpse of “reality” that is not debatable, regardless of manipulation, the diapositive bears the proof.

4) As a fine art photojournalist, humbly speaking, the rapport between the subject matter and myself begins in what I term the, “dream state.” With cameras in hand, daylight film in one camera, tungsten film in the second, I take to the environment as a child, so-to-speak, novelty and enlightenment with every breath, my “Fountain of Youth.” As my approach to my subject matter is based completely on spontaneity it is in this “dream state” where all five senses, or shall I say, six, come to the fore, acting as receptors and conduits to those spontaneous moments conspiring to action.

5) Referencing the “tree” in my work is derived from, aesthetically, the ethereal qualities indicative to all genus, seasons and environments, philosophically, an homage to their most particular and precious properties conducive to life and planet through photosynthesis and processing carbon dioxide, essential and remarkable.

6) My life’s path is devoted to the concept of a worldview. Having said that, with 196 countries in the world to date, depending on one’s interpretation of Taiwan being a country, I sense I will not live long enough to experience and capture each country’s manifest and enlightening representation. Rest assured I certainly aspire to such lofty goals but to infer that my photography defines a worldview would be pretentious and presumptuous at best.

7) When I began teaching myself photography my direction towards color photography was absolute, I have marveled at life in color from my earliest recollections and will do so unto death do I part. Having said that, ironically, when contemplating the profound history of the photographic medium referencing our, “Masters,” through the generations to contemporary artists today my preference lends to the “black and white” artists and imagery.

8) The countries themselves are the, “canvas,” in painterly terms. My long-term vision endeavors to retrace and capture the historical and fundamental epochs and cultures denoting the human timeline emerging from Africa ergo the San Tribe as the baseline for the Botswana/Namibia Travelogue, Egypt, China, Greece, Peru, France, Nepal etc. Having said that, humbly speaking, I recognize there is inestimable work to be done in representing a more global timeline, the sands of time stand still for no man.

9) Humbly speaking, I aspire to each image representing a spontaneous, “mise en scène,” accordant to time, place and subject matter, but, my imagery is based on spontaneity, not staged imagery.

10) In a general context, yes, reminding myself that curiosity, ambition and nomadic spirit lending to roads globally traveled are not a given, they are a blessing, and in return it is my conscionable and spiritual duty to share an alternative, “truth,” contrasting the daily negativity on a global scale pervading society and spirit. It is of dialog that bears the fruit of understanding and enlightenment. Having said that, when I am on those roads being traveled and engaged in my, “dream state,” no, the viewer is not in mind, the journey, process and perpetual enlightenment are all that come to mind.

11) I was born in Media, Pennsylvania, located centrally between Philadelphia and Lancaster, the Amish country. As fortune would have it my father was an astute outdoorsman, a veritable man for all seasons. It was his tutelage, patience and love that introduced me to the mystery, magic and gifts that are nature and the great outdoors. I would venture that from this aspect of my youth the base spirit for photography was borne.

Having said that, I must confess my youth was not captivated by the arts, ironically so, and it was when I arrived in Paris, 1986, at the age of twenty-seven that an “awakening” graced my naïve and nomadic spirit. Immediately I was captivated by the “City of Lights,” a novel culture, architecture, history, citizenry, language, lifestyle… In basing myself from Paris over the course of the ensuing fifteen years I have come to fondly and humbly recognize that it is Paris and her embracing citizens that introduced me to a philosophy of, “life as art, art as life.”

Having yet to touch a camera, my evolution takes me to the magnificent museums and cultured galleries throughout the city, most notably the Musée d’Orsay, the Impressionists. Unfamiliar with the artists and their iconic art, ironic, in retrospect, notwithstanding the “perception” from their “peers” within the conventional art community of the time, I was absolutely transfixed by the sheer beauty, breadth, strokes, colors, shapes, lines, relating a glimpse of antiquated reality devoid of “valued” clarity, in essence offering this naïve nomad a vision of “reality” yet demanding me to define said reality, in essence demanding more from me as a viewer, most notably, my imagination.

It was in Senegal at the age of thirty that my dear “brother,” Jack Sibbitt, first placed a camera in my hands. I must confess I have never considered myself a “technical” man, although evolution, enlightenment and the times may have altered that perception, but most notably returning to Paris, post developing the film, and witnessing for the very first time that quality, possibility, of “stopping time” as well as visually documenting said time, my passion and path were borne.

Continuing, reflecting upon my evolution from nomadic youth to the Impressionists, ever inspired by their individuality, passion, honesty, devotion, visions, talent, aesthetics and spirits, I began to contemplate the idea of endeavoring to photograph, “life as art,” as, “paintings on film,” literally and figuratively. In retrospect I would venture it stands to reason my attraction to the Impressionists identifying with similar environments, seasons, personage, activities, reminding me of my impressionable youth and esteemed neighbor, the American Master, Andrew Wyeth, RIP…

The final link to my “photographic journey” takes me to Japan having spent one year, over the course of three years, immersed, mesmerized and perpetually enlightened by the country, architecture, culture, history, citizenry, language and lifestyle. Most notably, there is an expression in Japanese lending to, “bushido,” “life in every breath.” In consummating my “style” it is of this philosophy that I discontinued using tripods and applied the practice to my photography, literally and figuratively, absolute purity physically, technically and spiritually.

12) Insightful observation, yes, my intention acknowledges and exalts “reality” as, “reality,” but I am seeking to probe deeper into “reality” applying the theory of physics to the metaphysical aspects of my spirit, inspiration and palette.

13) In my daily life I imagine I visualize life as any human being gifted with sight albeit with my spirit, attraction and attention to details. It is in the, “dream state,” time, space and subject matter are experienced and envisioned in my, “style,” a synthesis accordant to time, spirit, inspiration and self-expression. As to, why, please reference questions one and two.

14) Humbly speaking, first and foremost that captured moment, the relevance, must “stand for all time.” As important is what my distinguished “brother,” colleague and publisher, Franck Bénéï, Natives Publishing, Paris, and I refer to as having a minimum of three dimensions. Subject matter ever subjective accordant to the unique viewer, naturally, brings us to the qualities of a photograph. Referencing examples of three dimensions; from grains of film to layers in juxtaposition of graphics, from contrasts of light and dark to colors from saturated to pastel etc.

15) Undoubtedly, teach yourself. Obviously there is a learning curve but most notably one hones one’s pure spirit, path of enlightenment and craft, yes, mistakes are made but most importantly one will learn from those mistakes lending to perfecting and mastering one’s medium synchronized with one’s pure spirit. As Oscar Wilde so eloquently intoned, “The aim of art is to reveal art and conceal the artist.” Truth be told, engaging in any art form, good, bad, indifferent, art is undeniably a reflection of qualities of the human spirit, question being how does one seek to express and translate one’s spirit to a chosen medium.

16) The age of digital photography is wonderful with regard to the general population as people seemingly invest more time, energy and self-awareness to their incarnations.

Professionally, commercially, I understand the reasoning from costs to Photoshop to rapidity but I resonate with the days when the medium was film.

In the realm of fine art photography, humbly speaking, film versus digital comes as oils versus acrylics on canvas. That is not to say I do not appreciate acrylic paintings, simply put, they are separate mediums within a medium. The irony of my interpretation lends to the simple fact that it is the diapositive that is the original, veritable, tangible representation of, “art,” the subsequent limited series prints are art themselves, but, the originals, diapositives, they are the oil canvas’.

l17) The human concept of identifying, measuring and defining time originating with the cycles of the sun and moon culminating in clocks, watches, mobile phones, computers, for example, lends me to those unanswerable questions… We organize our lives accordant to “measured time,” understandably, and yet in the, “Grand Design,” time is, “infinite.”

Recognizing, for instance, that Classical Greece did exist, homage to archaeology and the correspondent fields, although I have had the humbling honor to traipse along the paths of Homeric verse witnessing echoes of noted, historical classical past, I am unable to intimately, honestly, refer to a “knowledge” of this time and space, the vestiges of noted time, space and history, yes, but no more. For example, history records the fashion being togas but I assure you I witnessed no togas on my journey, regretfully so. Now, imagine returning to Classical Greece via a “time machine,” cameras, lenses and film in hand, occupying the same space yet the environment is uniquely manifest. Now I have a veritable affirmation testifying to noted alternative time bound to like space. In essence, sans time machine, it is my imagination lending to the, “dream state,” by which metaphysically transferring my focus, knowledge and spirit accordant to a concept of “time” and respective time periods that the diffusion or “flou,” lends to the “Grand Design,” timelessness, and yet, ironically, the diapositive actually stamps time, literally, such is the curious and humbling nature of, “life,” rife with idiosyncrasies and unanswerable questions, a “magic” unto it’s own.

18) With respect to my art and approach, it is completely personal, from research to journey, editing and cutting strips of film to making slides, layouts of publications by Native Publishing to limited series prints on Ilfochrome Exhibition paper, suspended exhibitions to music and wine accordant to the themes notwithstanding.

Having said that, when I consider the term, “artist,” that envelops impressions extending beyond and including the field of photography for instance colleagues passionate to alternative mediums, unique creative directors and visionaries in publishing, alternative galleries, museums and correspondent direction, all “Masters” of their mediums… I am ever humbled and honored to share paths with these visionaries from around the globe, collaboration amongst peers, synthesizing thereafter resonating a spiritual bonding expressing a common theme, a truly humbling and exhilarating process and experience, always enriching, always enlightening.

19) Yes, with respect to innate individuality, my individuality, and yet, ironically, we are, “all,” “one,” atomically speaking.

20) Hmmm, I have no answer other than when I embarked on the path of photography, from that first moment in Paris entranced by the parameters of the diapositives before me returning from Senegal, my path became clear, an “awakening,” curiosity, passion and purity guiding my path.

21) I would like to photograph every country of the documented world, first and foremost.

22) Ironically, the camera Jack Sibitt placed in my hands in Senegal was a Nikon F501 with the Nikkor lenses 28-85mm and 75-300mm… To this day, this is the only camera body and set of lenses I have used for this medium of work. Having said that, I have six bodies and sets of lenses, all in impeccable condition, naturally.