{"id":5242,"date":"2014-04-27T14:59:45","date_gmt":"2014-04-27T13:59:45","guid":{"rendered":"http:\/\/yanndatessen.fr\/?p=5242"},"modified":"2019-10-12T18:07:02","modified_gmt":"2019-10-12T17:07:02","slug":"photo","status":"publish","type":"post","link":"https:\/\/yanndatessen.fr\/?p=5242","title":{"rendered":"PHOTO +"},"content":{"rendered":"

\"IMG_7902\"<\/a>\"IMG_7889\"<\/a><\/p>\n

\u00a048\u00e8me Num\u00e9ro de PHOTO +<\/strong><\/p>\n

\u00a0Interview with Yann Datessen<\/p>\n

1. I am impressed with your work <L\u00e9th\u00e9>, When did you start to shoot it? And what made you start to do this series?<\/strong><\/p>\n

J’ai r\u00e9alis\u00e9 cette s\u00e9rie entre Mai et Octobre 2013, en descendant le fleuve de la<\/em> Garonne<\/em> dans le sud de la France, entre les villes de Bordeaux et Toulouse. Au d\u00e9part, je voulais aborder l’id\u00e9e d’odyss\u00e9e<\/em>, une d\u00e9rive, des tourments, des \u00e9preuves, peut-\u00eatre r\u00e9aliser un Ulysse<\/em> (\u00e0 bien y regarder on peut d’ailleurs retrouver un cyclope, des Lotophages, une Circ\u00e9, une Calypso, des m\u00e9duses, la construction d’Ithaque…) quelqu’un qui cherche \u00e0 revenir chez lui, ou qui cherche \u00e0 retrouver quelqu’un qu’il a aim\u00e9. Puis, au fur et \u00e0 mesure que j’avan\u00e7ai dans mon projet, j’ai compris que je voulais vraiment parler \u00ab\u00a0d’amour\u00a0\u00bb, du couple, de l’oubli, des regrets, de ce temps \u00ab\u00a0qui passe sous les ponts\u00a0\u00bb, comme l’eau, comme le L\u00e9th\u00e9…<\/p>\n

I produced this series between May and October 2013 whilst descending the Garonne river in the South of France, between the cities of Bordeaux and Toulouse. At first I wanted to explore the idea of an odyssey, a d\u00e9rive<\/em>, turmoil, tests \u2026 Perhaps to conjure Ulysees <\/em>(if you look closely you can even find a cyclops, some Lotus-eaters, Circe, Calypso, mermaids, the cr\u00e9ation of Ithaca \u2026), someone who is seeking to return home, or to find again someone he once loved. Then bit by bit as I progressed with my project, I understood that what I really wanted to talk about was love\u00a0: the couple, loss, regrets, the time that \u2018flows under the bridge\u2019, like water, like the Lethe.<\/p>\n

2. How can you make a piece of work? I am curious about the whole process of your work.<\/strong><\/p>\n

J’ai besoin de beaucoup de pr\u00e9paration avant me lancer dans la prise de vue : rep\u00e9rages, recherches d’objets, documentations sur les th\u00e8mes que je vais traiter. Je r\u00e9fl\u00e9chis assez longtemps \u00e0 l’histoire que je veux raconter, en r\u00e9alise plusieurs story-board, des sc\u00e9narios que je dessine sur des petits cahiers qui me suivent partout le temps d’accoucher de ma s\u00e9rie. Bien s\u00fbr je me laisse de-ci de-l\u00e0 quelques libert\u00e9s mais en g\u00e9n\u00e9ral j’ai en t\u00eate 80% des visuels que je vais effectuer. Quand je me sens pr\u00eat, je r\u00e9unis mes mod\u00e8les et tente de me rapprocher au plus pr\u00e8s de ce que j’ai sur ces petits cahiers…<\/p>\n

Gr\u00e2ce \u00e0 cette m\u00e9thode, je peux mettre en place la progression de mon histoire, anticiper l’\u00e9volution de mes personnages, je peux tisser le lien qui va \u00ab\u00a0unir\u00a0\u00bb toutes les images. D’un pur point de vue formel, cela me permet aussi d’aiguiser ma r\u00e9flexion sur l’image elle-m\u00eame : j’exp\u00e9rimente des associations nouvelles, ou tente des cassures, je choisis, je sais \u00e0 l’avance si les images de mes polyptiques vont \u00eatre prises dans un m\u00eame \u00ab\u00a0espace-temps\u00a0\u00bb (avec seulement quelques secondes de d\u00e9calage), ou si elles vont provenir d’un m\u00eame lieu mais avec des semaines, parfois des mois, d’\u00e9carts entre elles… Selon ce qu’il y \u00e0 raconter, ces images peuvent aussi na\u00eetre d’un endroit et d’une \u00e9poque compl\u00e8tement diff\u00e9rents : les combinaisons sont infinies.<\/p>\n

I need a long period of preparation before it comes to shooting\u00a0: location hunting, research on objects, and literature on the themes that I wish to address. I think about the story I want to tell for quite some time by creating storyboards and scenes that I draw in little books that follow me all the time as I bring my series to life. Of course I leave myself some freedom here and there but in general I have 80% of the visuals in my head before I create them. When I feel ready, I bring together my models and I attempt to get as close to what I have in the little notebooks.<\/p>\n

Thanks to this method, I can organize the development of my story, anticipate the evolution of my characters and weave together the links that will \u201cunite\u201d all the images. From a purely formal point of view this enables me to sharpen my reflections of the image itself\u00a0: that is whether the images for my polyptychs will be shot in the same \u201cspace-time\u201d (within a few seconds of each other) or if they originate from the same place but are separated by weeks, sometimes month-long gaps. Depending on what is to be told, these images may also be born from a completely different place and period\u00a0: the combinations are infinite.<\/p>\n

3. Who are the models? Are they professional models?<\/strong><\/p>\n

Pour cette s\u00e9rie, les mod\u00e8les sont des membres de ma famille. P\u00e8re, m\u00e8re, s\u0153ur, ni\u00e8ce… Pour d’autres projets, je peux travailler avec des professionnels mais je n’en retire pas autant de \u00ab\u00a0substances\u00a0\u00bb.<\/p>\n

For that series, the models are members of my family\u00a0: my father, my mother, my sister, my niece. For other projects I might work with professionals but I find it\u2019s rarely possible to draw out as much \u2018substance\u2019 from them.<\/p>\n

4. One piece of work consists of two, three or four images from different angles. Can you explain the reason why you work like that?<\/strong><\/p>\n

Pour deux raisons essentiellement: La premi\u00e8re est que je ne sais pas faire autrement! Ma personnalit\u00e9, mon \u00e9ducation \u00e0 l’image, la fa\u00e7on dont mon corps, malgr\u00e9 moi, tente d\u2019exorciser une certaine panique du vide, du silence,\u00a0 du manque, m\u2019ont conduit tr\u00e8s vite \u00e0 proc\u00e9der de la sorte. Je n\u2019ai jamais vraiment r\u00e9ussi \u00e0 me tenir \u00e0 une unicit\u00e9, \u00e0 tout mettre dans une seule et m\u00eame image comme pour ce fameux instant d\u00e9cisif<\/em>. J\u2019ai cette n\u00e9cessit\u00e9 de collecter du fragment, le fragment : \u00ab\u00a0un morceau de chose qui a \u00e9t\u00e9 cass\u00e9, s\u00e9par\u00e9 de son tout\u00a0\u00bb. Comment retrouver ce \u00ab\u00a0tout\u00a0\u00bb ? Une seule d\u00e9coupe ? Une seule empreinte du r\u00e9el ? Une seule image suffit-elle vraiment ? Peut-\u00eatre pas.<\/p>\n

La seconde raison est que j\u2019aime rationnaliser, et pour cela il faut trouver de la mati\u00e8re tout autour de soi, puis la classer, l\u2019ordonner, la nommer, sur le principe de l\u2019herbier, je cherche \u00e0 contrarier le d\u00e9sordre, je me dis que mettre plusieurs indices \u00ab\u00a0\u00e0 plat\u00a0\u00bb, sur une table, m’aidera peut-\u00eatre \u00e0 mieux comprendre et r\u00e9soudre l’\u00e9nigme…<\/p>\n

For two reasons essentially. The first is that I don\u2019t know any other way to work\u00a0! My personality, my education with regards to the image, the way in which my body (in spite of itself) \u00a0attempts to exorcise a type of panic of emptiness, because of silence, absence, all these things very quickly drove me proceed in this way. I never really managed to constrain myself to \u2018uniqueness\u2019, to putting everything in one image alone as with the famous decisive moment.<\/em> I have that necessity to collect fragments \u2026 the<\/em> fragment, \u201ca pi\u00e8ce of something that has been broken, separated from everything\u201d. How can this \u2018whole\u2019 be found\u00a0? A single shot\u00a0? A solitary imprint of the real\u00a0? Is one image really enough\u00a0? Perhaps not.<\/p>\n

The second reason is that I like to rationalize and for that you have to locate the matter all around yourself, then to classify it, order it, and name it according to the principal of a herbarium. I seek to go against the disorder. I say to myself that several clues \u2018laid out\u2019 on a table will perhaps help me to better understand and resolve the enigma \u2026<\/p>\n

5. What is the most important thing when you take a photograph?<\/strong><\/p>\n

Ma fa\u00e7on de concevoir la photographie n’est finalement pas tr\u00e8s photographique…. Comme je proc\u00e8de par associations d’images et non pas par image unique, comme je bondis de s\u00e9rie en s\u00e9rie sans me soucier de faire \u00ab\u00a0une belle image\u00a0\u00bb, du coup la prise de vue n’est pas une chose essentielle pour moi, je me sens tr\u00e8s \u00e9loign\u00e9 du concept d’instant d\u00e9cisif, <\/em>et il est clair que ma famille est plus celle des plasticiens. A chaque fois, je cherche \u00a0\u00e0 retranscrire un \u00ab\u00a0univers\u00a0\u00bb complet, une \u00ab\u00a0continuit\u00e9\u00a0\u00bb, un corpus<\/em> d’images dans lequel tout est \u00ab\u00a0li\u00e9\u00a0\u00bb, et puis : j’ai tellement pr\u00e9par\u00e9 mon affaire avant d’appuyer sur le d\u00e9clencheur que ce moment l\u00e0 n’a rien de \u00ab\u00a0sacr\u00e9\u00a0\u00bb pour moi.<\/p>\n

My way of conceiving of photography is ultimately not very photographic. Because I proceed through associations of images and not by a unique image, because I jump from one series to another without worrying about creating \u201ca beautiful image\u201d, the shooting is not something essential for me. I feel very removed from the concept of the decisive moment<\/em> and without doubt my family is that of the plasticians. I always seek to transcribe a complete \u201cuniverse\u201d a \u201ccontinuity\u201d, a corpus of images in which everything is \u201clinked\u201d, and then I\u2019ve prepared my venture so much prior to releasing the shutter that there is nothing particularly \u201csacred\u201d in that moment for me.<\/p>\n

6. Do you have any artists or things that inspire you?<\/strong><\/p>\n

Bien s\u00fbr, je ne peux cach\u00e9 mon amour de la peinture : Manet, l’\u00e9cole viennoise, les nabis, Rembrandt, Goya… j’ai d\u00e9but\u00e9 mon parcours artistique comme peintre et beaucoup de choses en sont rest\u00e9es.<\/p>\n

Photographiquement parlant, m\u00eame s’il y a \u00e9norm\u00e9ment d’auteurs dont j’admire le travail (Rineke Dijkstra en t\u00eate ), je ne peux pas vraiment dire qu’un univers photographique en particuliers influence directement ma d\u00e9marche. En fait, je me sens beaucoup plus proche du cin\u00e9ma, j’y trouve des couleurs, des atmosph\u00e8res, et surtout des transitions d’images et des s\u00e9quen\u00e7ages qui me fascinent; \u00e0 ce titre des gens comme Jeff Nichols, Jim Jarmusch, et bien s\u00fbr Chris Marker et ses photos-Romans, sont des r\u00e9f\u00e9rences pour moi.<\/p>\n

Enfin, si je devais mettre de la musique sur mes images, vraisemblablement les pianistes Erik Satie et Chilly Gonzales seraient en t\u00eate de liste : comme ils accompagnent tous mes projets depuis des ann\u00e9es, j’ai l’impression de leur devoir beaucoup.<\/p>\n

Of course, I can\u2019t hide my love for painting\u00a0: Manet, the Vienna school, Les Nabis, Rembrandt, Goya.. . I started my artistic journey as a painter and I\u2019ve retained a great deal from this.<\/p>\n

Even if there are lots of auteurs whose work I admire in terms of photogtraphy, (Rineke Dijkstra comes to mind) I can\u2019t really say that a particular photographic universe influences my approach. In fact, I feel much closer to the cinema. I find in it colors, atmospheres, and especially transitions of images and sequences that fascinate me. To this end people like Jeff Nicholls, Jim Jarmusch and of course Chris Marker and his photo-romans<\/em> are references for me.<\/p>\n

Finally, if I had to put music over my images in all likelihood the pianists Erik Satie and Chilly Gonzales would be at the top of my list. I feel that I owe them a lot because they have accompanied all my projects for many years.<\/p>\n

7. What do you want people to get from your photographs?<\/strong><\/p>\n

J’aimerais, comme pour un bon film, que la premi\u00e8re vision de ma s\u00e9rie laisse une impression tenace, qu’elle reste l\u00e0, plusieurs jours, infuse en-dedans. Puis, qu’on ait envie d’y revenir un peu plus tard, et qu’\u00e0 ce moment-l\u00e0, on y d\u00e9couvre de nouvelles choses, des d\u00e9tails que je cache dans les recoins, et qu’ainsi d’autres histoires puissent commencer.<\/p>\n

I would like the first viewing of my series to leave a lingering impression that endures for several days, percolating inside the viewer like after watching a good film. Then I hope that it leaves them with the desire to return to it a little later and that at that moment they discover something new, details hidden in the recesses, which enable new stories to flow.<\/p>\n

8. What are you working on now and what are you planning to work on in the future?<\/strong><\/p>\n

A l’heure d’aujourd’hui, j’essaye de faire exposer mon \u00ab\u00a0L\u00e9th\u00e9\u00a0\u00bb le long des \u00e9cluses du canal-st-Martin \u00e0 Paris.<\/p>\n

Pour mon prochain projet, je me lance un d\u00e9fi. Un d\u00e9fi humain et esth\u00e9tique. Je vais partir 4 mois en Scandinavie, dormir dehors presque tous les soirs, partir \u00e0 l’aventure, rencontrer des gens et me perdre dans le sauvage jusqu’au Cap Nord (le point le plus septentrional d’Europe). Je parle de d\u00e9fi esth\u00e9tique parce que ma fa\u00e7on de fabriquer de l’image est tout sauf \u00ab\u00a0spontan\u00e9e\u00a0\u00bb, et l\u00e0-bas je n’aurais pas de mod\u00e8les connus, pas de sc\u00e9narios pr\u00e9par\u00e9s, il faudra appliquer mon vocabulaire aux al\u00e9as du style documentaire et je ne sais pas ce que cela va donner…<\/p>\n

At this very moment I\u2019m trying to get my \u2018L\u00e9th\u00e9\u2019 exhibited along the tide gates of the Canal St. Martin in Paris.<\/p>\n

For my next project, I have given myself a challenge both human and aesthetic.\u00a0 I\u2019m going to Scandinavia for four months. I will be sleeping outside most nights, departing on an adventure, meeting people and losing myself in the wild until I reach the North cape (the northern most point in Europe). I describe it as a challenge because my approach to creating images is everything but \u2018spontaneous\u2019, and I won\u2019t have any known models there, no prepared scenarios. I will have to apply my vocabulary to the chance of the documentary style and I don\u2019t know what the outcome will be \u2026<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a048\u00e8me Num\u00e9ro de PHOTO + \u00a0Interview with Yann Datessen 1. I am impressed with your work <L\u00e9th\u00e9>, When did you start to shoot it? And what made you start to do this series? J’ai r\u00e9alis\u00e9 cette s\u00e9rie entre Mai et Octobre 2013, en descendant le fleuve de la Garonne dans le sud de la France, […]<\/p>\n","protected":false},"author":2,"featured_media":5852,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19,14],"tags":[],"class_list":["post-5242","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interview","category-parution"],"_links":{"self":[{"href":"https:\/\/yanndatessen.fr\/index.php?rest_route=\/wp\/v2\/posts\/5242","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/yanndatessen.fr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/yanndatessen.fr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/yanndatessen.fr\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/yanndatessen.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5242"}],"version-history":[{"count":16,"href":"https:\/\/yanndatessen.fr\/index.php?rest_route=\/wp\/v2\/posts\/5242\/revisions"}],"predecessor-version":[{"id":6333,"href":"https:\/\/yanndatessen.fr\/index.php?rest_route=\/wp\/v2\/posts\/5242\/revisions\/6333"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/yanndatessen.fr\/index.php?rest_route=\/wp\/v2\/media\/5852"}],"wp:attachment":[{"href":"https:\/\/yanndatessen.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5242"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yanndatessen.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5242"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yanndatessen.fr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5242"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}