"After dedicating my life to describing in data the different scales of cartographic perception of the world, I now photograph its landscapes. As I described the earth on small and large scales, I now photograph grand vistas and intimate scenes. As I mapped immaterial as well as material phenomena, I photograph both fuzzy and precise subjects. As I mapped evolving and static phenomena, I see a temporality in everything I look at. Trees and rock particularly inspire me, because in my imagination, they symbolize two significant temporal scales, namely the duration of a life and eternity."
"After dedicating my life to describing in data the different scales of cartographic perception of the world, I now photograph its landscapes. As I described the earth on small and large scales, I now photograph grand vistas and intimate scenes. As I mapped immaterial as well as material phenomena, I photograph both fuzzy and precise subjects. As I mapped evolving and static phenomena, I see a temporality in everything I look at. Trees and rock particularly inspire me, because in my imagination, they symbolize two significant temporal scales, namely the duration of a life and eternity.
I express myself through photography because it combines art and technology, sensitivity and intellect, solitary creation and sharing. Nature is what best allows me to feel my own essence as a man of territory. It gives me indescribable well-being that I can only convey through the image, seeking to bring out the beauties that often go unnoticed. Through this visual poetry, I want to make people aware of nature and the need to protect it, while offering them a respite in this era of eco-anxiety.
My photographs are intentionally subjective. Aesthetics, emotion, and imagination take precedence over documentary reproduction. I observe slowly to detect the visual variables responsible for my sensations and that build my vision. I highlight what I feel or that my imagination perceives by composing with nature, but without metamorphosing it. Like the luminist painters of the nineteenth century, I seek realism in the shades of light and atmosphere. In doing so, I recognize myself in the neo-pictorialist movement that uses the power of photography to create paintings. This influences each of my steps, even when I transform in my studio the pixels of my photographs into pigments on canvas and fine art papers carefully chosen.
Finally, I sometimes free my imagination further and anthropomorphize subjects or visualize life where there is none, which gives me a certain exaltation."
"I have been practicing landscape photography since I was a teenager when I bought my first 35mm camera. Despite my forays into drawing, watercolor and sculpture, photography has always inspired me. In 2003, I moved to digital photography, and it became a real passion.
Self-taught, I have perfected my skills with some of the best photographers and artists thanks to several courses and workshops in Canada, the United States, and the United Kingdom.
My love of nature comes from the fact that I grew up and lived in a village surrounded by mountains, lakes and rivers. I have surveyed several regions of Quebec and explored several others around the world. In 2014, my artistic passion dominated my scientific passion, I decided to devote myself professionally to photography.
A permanent artist in art galleries since 2014, I participate in several solo and group exhibitions in Quebec and beyond (United States, Australia, India). My photographs are regularly published internationally. My works are part of private collections in nearly twenty countries. I photographed on all five continents.
Loving the texture of fine art paper and wanting to realize each step leading to the final product, as of 2009, I used my previous knowledge to develop my ability to make my own fine art prints.
Having pursued my previous career as a professor, author and speaker, I have been spreading my photographic passion for several years through courses, workshops, conferences and juries.
In addition to having designed unique products for corporate gifts, I sell digital licenses for books, magazines, newspapers, websites, calendars, greeting cards, advertisements, apps, etc.
Before devoting myself full-time to photography, I was a university professor-researcher in geomatics engineering (geolocated data science). I trained hundreds of land surveyors, geomatics engineers, and students at the M.Sc. and Ph.D levels. I specialized in the design and development of map databases, such as those used in our road navigation systems. My challenge was to ensure cartographic representations of the territory with the best possible fidelity. This period directly influenced the way I describe the world and photograph.
I have authored or co-authored with my students, colleagues, and research assistants more than 600 papers presented in thirty countries, including 176 articles in peer-reviewed scientific journals. Cited more than 4100 times, my pioneering work in geospatial data engineering is widely recognized. This also is the case with my managerial capabilities, both as a government advisor and as a co-founder of a research Centre and a private company. My multidisciplinary approach, based on real-life tests in industry, has opened the door to prestigious awards in Canada and the United States in different fields: surveying/mapping, engineering, computer science, geography, teaching, entrepreneurship, and scientific writing. Registered on the boards of the OAGQ and the OIQ during my professional life, I hold the prestigious titles of Professor Emeritus of Laval University, Distinguished Engineer in the United States (University of Maine), and Honorary Fellow of the Royal Canadian Geographical Society.
Sensitive to nature and the future of our planet, I volunteer to the Provancher Society, an organization dedicated to environmental protection and education. I also did a solo exhibition on this theme, and one of my photographs was chosen by the British High Commission of Canada for the United Nations Climate Change Conference COP26 (Glasgow, UK, 2021)."
This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist