I had the privilege of being confined in a beach house in Brazil. I thus became a spectator of this health crisis, but also of an even more fatal environmental crisis, linked to global warming. The latter appeared to me daily by the disappearance of my beach, by the slow decline of this coastal strip with an immense diversity. Man arms the sea against the land; it contributes to this rise of the water. This coastline, this strange foreshore, this last frontier advances inexorably.

Every week, sometimes every day, I discovered on our beach, one or more palm trees passed from life to death. I witnessed the slow death of these vibrant totems which, few hours ago, had dusted the overseas skies with the winds. A tree stopped in its natural rush towards the zenith, the air and the sun. A tree that goes from a lively and noisy verticality to a silent and mortuary horizontality, after a slow uprooting. How can't we see a metaphor of our human condition!

For a few months, I photographed my confined horizon, a thin strip of sand a few kilometers long, bounded by two estuaries and a palm grove. This marine cemetery with open sky, land and sea. The last encounter between nature and its elements.

The photos are organized into five series, in a temporal progression that goes from Lives to Lives, to Fall, Uprooting, Lying and finally Sanded down.
Vies à vies is the land-sea face-to-face, the shadow cast by the tree on the ocean.
Falling, the palm leaves the living and vibrant verticality.
Uprooting is the loss of the link with Mother Earth.
Lying down is the beginning of mute and mortuary horizontality.
Sanded down, it's finally the burial, the disappearance of these living totems.

How not to see metaphors with our human condition! Have a good trip!

I opted for searching for balance and geometric rigor in sketched images. I like to take care of my compositions, to architecturate the image. Nothing should be superfluous; everything must be uncluttered to give a minimalist look. The image must thus be confined to the abstraction, to the timelessness. I love the emptiness of spaces, the feeling of loneliness and sweet latency, which make visible the invisible.

I am a surveyor, a moving photographer. I work with a digital camera with a wide-angle prime lens to immerse myself in the landscape, or highlight a foreground, without a photographic tripod to gain spontaneity, as well as with a drone in vertical view to approach the third dimension of these scenes.