In this series, I am interested in the ambiguity of the function of Nature reserves. This one «preserves» the fauna, the flora, minerals, but in fact, it protects a space that men elaborated in a non-natural area throughout the ages. That is why I meant to show a hint of artifice in my photographs: nature becomes odd thanks to the creation of lights and effects that better capture this visual feeling.

Alix Jacops is working on a project about the porn industry; a world which is known for being fake. A porn set is a built-up world, whether or not in a real existing environment. In this temporary setting actors are being placed, who play a role of a fictive character, so the spectator can relate to the story. In this fake world, the photographer tries to capture the real moments, when the porn stars aren’t acting. But to what extent show these ‘in-between’ moments the reality?

images are simulacra, which purpose is to generate new perceptions, where true and false take on another dimension. introduces a visual syncretism that integrates time and space - a fictitious and experiential universe that emerges only gradually. By merging several seemingly incompatible worlds into a new universe, he tries to develop forms that do not meet the logical criteria. «Outre.» is another perception.

Sang Blanc [White Blood] is a selection of pictures from old pornographic magazines from the 70s-80s. I take pictures, reframing, cutting, scanning. On a page of the original magazine, I’m interested in small details. For example, the face of an actor is in most of the time, not put forward and very small unlike the bodies. My goal is not to access this project on pornography. On the contrary, in my pictures, we see that very rarely a sexual part. Everything is suggested and ambiguous. I play with the picture, but also the flaws of the book, the folded pages, the damaged binding and also the text. Indeed, we can see fragments of text without revealing too quickly. Similarly for the scanner that offers me accidents, frame, blur and shine. My picture work in a duality specific to publishing, but can also live alone.

D’ici 2100, l’eau aura recouvert toutes les terres qui se situent entre zéro et six mètres par rapport au niveau de la mer. En Belgique des digues et autres dunes artificielles sont érigées par les communes, afin de protéger les habitations sur le front de mer. Le gouvernement envisage de laisser la bande de terre qui s’étend à l’ouest d’Oostende être submergée, pour protéger l’est de la côte, d’Oostende au Zout, plus urbanisé mais aussi habité par une population plus aisée. En France, les dunes de sable sont désormais protégées, on espère qu’elles permettront de ralentir la montée des eaux et de casser les vagues qui se jettent sur la côte. Il y a d’abord l’envie de dresser un atlas de ces espaces.Une nécessité urgente de faire trace, pour que ne disparaissent pas complètement ces lieux. Mais ces lieux, que nous disent-ils de notre histoire, de notre rapport à une réalité terrestre que nous pensions pouvoir apprivoiser, maîtriser et marchander, et qui d’un coup nous échappe ? Que nous disent ces paysages de notre rapport à l’espace, à notre environnement, à cette nature qui nous entoure. Qu’en est-il de cet habitat, de cet abris qui jusque là nous protégeais et qui devient hostile. Faut il s’adapter, partir, rester?

'Bring Back Blue Skies' is an ongoing project on the interaction between man and nature. The title, that forms a metaphorical guideline for my intentions, derives from a blog that is a visual archive of a person capturing so called ‘chemtrails’. The chemtrail conspiracy theory is the claim that long-lasting condensation trails consist of chemical or biological agents left in the sky by high-flying aircrafts. Those who subscribe to the theory speculate that the purpose of the chemical release may be solar radiation management, weather modification, psychological manipulation, human population control, or biological or chemical warfare and that the trails are causing respiratory illnesses and other health problems.