In nature, the expressive impact of an isolated motif attracts me, the trees, "muscles of the landscape".
I photographed trees a lot, as one photographs friends, family, almost without realizing it. Trees look like us, they are alive, they are our ancestors, they protect us. Trees also remind us of our weaknesses, encourage us, urge us to humility. Their roots anchored in the ground, their branches swaying in the wind of history, they are thinking reeds.
Tutelary figure of the living, the tree symbolizes communion with consoling nature, the tree symbolizes the timelessness. Alone in the middle of a field, a figure of uniqueness in the world, a tree can redraw the whole perspective of a landscape. There is something pure and painful about the tree motif. This motif alone sings about the absence, about the near-silence.
A symbol of life and knowledge, the tree is one of the great founding myths of our imagination. A link between heaven and earth, art and nature, myth and reality, the tree is first and foremost a living organism. The tree is Life, it invites us to raise our head and look there, to guide our steps.
The tree is the choreography of the landscape, its momentum. The tree symbolizes the dynamism of rooting and elevation, its growth is entirely directed by the quest for resources, light and mineral.
Photography shows the moment. The tree is the landscape as a duration, in which the past and the future coexist. The photography of tree brings together all these temporalities.
The tree has greatly influenced artists, especially the poets of the Mediterranean sea, who transcend the tree through their poems: Jules Renard, Vénus Khoury Ghata, Stratis Pascalis, Mahmoud Darwich, Muriel Augry, Andrée Chedid, or Nazim Hikmet. But the tree has also always been a photographic material, from the pioneers of the 19th century to contemporary artists. “Resilience, magnificence, loneliness, mystery, mysticism, environmental struggle: as many symbols as photography lends to these subjects."