François Dey concentrates preferably on minuscule details, which he enlarges by means of the camera eye of his cardboard cabin and in which he prints on old-fashioned photo paper. The used lens has an extreme limited range and therefore he is very close to his object during his photo sessions. He identifies himself with the lens as a kind of living magnifying glass. “When I am in the cabin I feel like a house being human”, he says, but after he has achieved a photo session of a 100 seconds exposure time according to his traditional method, he likes in contrast to keep one’s distance and to have the material speak for itself. Then, he is attracted by the cool nature morte photo settings on the table, enabling him to stand aloof from the objects around him, giving space to a much less personal pictorial charisma.
KvG