I was born in Nice in 1970 and I now live in Paris.
Before becoming a photographer, I studied geology and paleoanthropology. Those disciplines taught me two essential things: time is never limited to the present moment, and every trace carries more than what it shows. My work starts from that place, from what persists, what erodes, and what moves between a body, a landscape, and the one who looks.
Music has been part of my life since childhood. It shaped my sense of rhythm, attention, and improvisation. I build images the way you might build a musical motif: through shifts, variations, and subtle repetitions. Nothing is fixed, everything is in motion.
I call my approach transversal photography, a way of moving freely across mediums: analogue, large-format, digital, in-game environments, and more process-based or plastic interventions.
It isn’t a search for effect, but a way of working the in-between, exploring how an image can hold multiple temporalities and multiple layers of reality.
My influences range from Étienne-Jules Marey, for his way of unfolding movement, to the pictorialist tradition, for its materiality and slow attention, and to contemporary practices that treat the image as a process rather than a pose.
I walk a lot. I work by moving.
For me, a photograph is never an extraction; it is a quiet conversation between place, body, and time. I try to be present, to look with precision, and to let the image settle rather than capture it.
Some of my photographs have been published in international magazines, including National Geographic, The New Yorker, Der Spiegel, GEO, and others.
CONTACTS
Betweenstrap
75003 Paris
0033616141391
contact@betweenstrap.com
Before becoming a photographer, I studied geology and paleoanthropology. Those disciplines taught me two essential things: time is never limited to the present moment, and every trace carries more than what it shows. My work starts from that place, from what persists, what erodes, and what moves between a body, a landscape, and the one who looks.
Music has been part of my life since childhood. It shaped my sense of rhythm, attention, and improvisation. I build images the way you might build a musical motif: through shifts, variations, and subtle repetitions. Nothing is fixed, everything is in motion.
I call my approach transversal photography, a way of moving freely across mediums: analogue, large-format, digital, in-game environments, and more process-based or plastic interventions.
It isn’t a search for effect, but a way of working the in-between, exploring how an image can hold multiple temporalities and multiple layers of reality.
My influences range from Étienne-Jules Marey, for his way of unfolding movement, to the pictorialist tradition, for its materiality and slow attention, and to contemporary practices that treat the image as a process rather than a pose.
I walk a lot. I work by moving.
For me, a photograph is never an extraction; it is a quiet conversation between place, body, and time. I try to be present, to look with precision, and to let the image settle rather than capture it.
Some of my photographs have been published in international magazines, including National Geographic, The New Yorker, Der Spiegel, GEO, and others.
CONTACTS
Betweenstrap
75003 Paris
0033616141391
contact@betweenstrap.com