18 years ago, I started to chronicle my daily life as a photojournalist everywhere on the planet, wherever my reports took me.  The idea was to show the behind the scenes of a story and more generally the daily life of a trip, in how it involves reflection, emotions, and apprehension of places of passage.

To do this, I used a tool that seemed quite insignificant at the time, the digital compact, and which turned out to be the precursor of the essential object of humanity's daily life: the smartphone.
The work I'm about to show you was therefore made with two shooting tools born and raised in the 21st century: the digital compact and the smartphone.

Another theme that I addressed in this body of work, and not the least, is the illustration of consumerism around images and travel: the predatory and narcissistic bulimia of our era's spaces and images.

The substance of the subject and the tools used led me to seek a new narrative, a narrative that breaks with what is traditionally done in photography, namely the sequenced and linear narrative proposed in the pages of books or on the walls of exhibitions.  I therefore decided to stack my photographs, to interweave one with the other to better express the complexity of my feelings and my sensations but also to express the simultaneity of events in disparate places.
This piling up of time and space develops a narrative that I will qualify as quantum. The embracing of images refers to quantum entanglement.

And this narrative has given birth to a trilogy made up of three meta-pictures, a term I have been using since I started to build them, eight years ago, with the photos I had already collected or from images I had gone out to glean...

I present here the most recent of these three works because it is certainly the most comprehensible and the most poetic.
For more than two years I have been trying to solve this equation: how to make a landscape from a large number of landscapes... Because one constant was becoming very embarrassing: the sky/land dichotomy. And it was the Impressionists and especially Cézanne who gave me the answer.

This work of Cézanne's in particular,  captivated me because it is beautiful, complex, and in some ways illustrates my personal history and the landscapes in which I grew up. From a pictorial and purely artistic point of view, its rhythm and the bird's eye view met my expectations. Finally, the pre-Cubism that is beginning to assert itself in Cézanne's Sainte-Victoire series gives me the breathing space and freedom to assemble my own images.

So I reconstructed this Sainte-Victoire by Cézanne on the land of my ancestors, where I was born and raised. Namely the Pyrenees, the Lauragais and more generally the South West of France. So I left with Cézanne's work up my sleeve in search of landscapes that would be the many pieces of the puzzle to complete, by going "on the ground" as he did it. Based on seasons to obtain the appropriate vegetation colors, based on geography to collect pieces of mountains, foothills, hills, fields or forests.

In fine you get a work composed of 286 photos in their entirety, in their integrity of framing, but intertwined with each other because they are superimposed.  There are therefore whole sections of these landscapes that are hidden but which really exist in the work. Ma Sainte-Victoire is 4 meters by 3, or 50,000 pixels by almost 38,000...
It is therefore ultra-high definition.

So you begin to understand the concept of assembly and narration.
From now on, the complexity of Ma Sainte Victoire and its disproportionality, its very composition... namely the assembly of several hundred photographs, legitimize my desire to make it live in its full measure, in very large format and with an intrinsic value for each of the images which compose it and which I will call tiles from now on.

Ma Sainte Victoire is thus composed of 286 tiles. And here you can imagine where I'm going with this....
I want to sell the 286 tiles one by one to different buyers in NFT.

The final work will belong to a group of buyers and not to a single buyer. Each purchaser will have the opportunity, of course, to see his or her tile - his or her NFT - in its entirety... and thus to see what was hidden by the other tiles.

BUT... each purchaser will have a greater and real added value compared to the ordinary public! All purchasers, by the way, will have an added value. I will disclose this in due course.

The work will exist on a website but also physically. And that... we will talk about it in person...

Finally, as indicated in the video, Ma Sainte Victoire is part of a trilogy. So two other works exist, in the same principle of assembly, different but each with a marked identity and with its added values.

To be continued...