About
" Every creator " who turn to the inscription of the light by diverse chemical adventures on sensitized surfaces " 
photographer is whom he says himself or not plastics technician. " Riwan Tromeur

For a long time I collected these Polaroids, attracted by this surface onto which the accident, the error of manipulation, gave every time a different result(profit) and the plastic side of which fascinated me. Well before it I had been amazed at these onsets of movies pulled at photo paper, risky imprint of the light on the film. This waste which we throw because useless. Little by little the accumulation of these objects found a sense. I found a footbridge between painting and photography, an unlimited plasticity there which I could explore in the envy, every object being different, not being able to reproduce twice the same result. This plasticity which allowed me to anchor more still my photography as being, in the style of what Peter Galassi was able to say about the plastic photography comm being "logic continuation of an internal deployment in the paint itself".

More than simple images, these " photographic objects " are plastic devices where the light left its imprint. It plays it, sometimes hung on, sometimes reflected by a multifaceted material. Each of these objects is only the imprint of itself, the image of the negative on the positive. We can so speak about duality, a vestige of what was ... Here the image cannot be understood as a simple thing but much more as an act of the consciousness imageante as well as Sartre considered it. These surfaces where the image lives, evolve in time. They are tracks, significant imprints of the time which passes and changes which accompany it, pointing the indefiniteness of off-fields.

Trash was presented to the Museumsnacht of Paderborn during the festival eXperimenta 3 in 2013.

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