Land of Mine /
é-Mine-nce
This collection focuses on the symmetries and diversions of two distant yet strangely resonant landscapes: the Cyclades (Greece) and the Thetford Mines (Quebec, Canada). Through eight paired photographs, each composed of one image from each place, it draws a line between fragmented territories separated by land and sea, forming a framework that is at once harmonious and non-cohesive.
The connection between these two lands serves to elucidate the relationship between extraction aesthetics and anthropocentric image-making. Taken two years apart, these photographs form a kind of prophetic union across space and time: a visual conversation between geology and history.
It mirrors a slow and gentle violence, one through which like-substances are joined under the colonial aspiration for oneness, cohesion, and symmetry. So long as it is on our terms. So long as humanity is the one to do it. These images echo each other in transversal conversation, reverberating our own calls to reconnect, to bridge divides, to unify our disjointed, alienated, and fractured selves.
Kalos-Eidos
Ink jet on mat paper
Thetford Mines, QC, Ca
Milos, Cyclades, Gr
Le Livart, 2024
Kyklos
Ink jet on mat paper
Thetford Mines, QC, Ca
Milos, Cyclades, Gr
Le Livart, 2024
Le Livart, 2024
Krysolite
Ink jet on mat paper
Milos, Cyclades, Gr
Thetford Mines, QC, Ca
Le Livart, 2024
Kolasis
Ink jet on mat paper
Thetford Mines, QC, Ca
Folegandros, Cyclades, Gr
Le Livart, 2024
Documentation
Thetford Mines, QC
Perhaps the most striking thing about this collection is that none of it was planned. I had always thought of these images as belonging to entirely different worlds. But by chance (or some kind of divinely orchestrated memory flash) I recognized a strange familiarity between the two landscapes.
Milos
Thetford Mines
The textures of eroded rock mirrored the scars left by human hands; the play of light and shadow in both places dialogued across time and space. What began as a visual comparison became a meditation on how landscapes (natural and man-made) carry the weight of history, memory, and transformation. What unfolded next is a perpetual discovery of parallels.
Plastic bag, Thetford Mines
Rock samphire, Milos
"Is there a kind of telepathy between landscapes, between photographs, between myself and the world, between my flesh and the divine?
Thetford Mines
Milos
The photographs converse with one another. One frame seems to ask a question, while another offers a tentative answer. Each sharpens the other, their interplay revealing a truth that neither could express alone.
"Understanding is not delivered, but discovered"
Thetford Mines
Milos
The camera fractures what it captures. By its very nature, it isolates, holds, and removes—a process that inherently involves loss, yet invites us to imagine these losses.
This act mirrors colonial impulses: "I came, I saw." Even when the taking is subtle, as in the act of looking or remembering, it involves a passive conquering, a quiet violence, and an implied dominion.
Although the landscapes captured are only fragments — as is the nature of landscape photography — the hypnotic expanse that stretches beyond the frame is implied. It is in imagining the extension of these territories that we are reminded of our own desire to fracture, to take, to extrapolate from the entirety a singular and palatable element for our consumption.
How are we to interpret humanity’s role in the fracturing and fragmenting and joining and abstracting of nature through the camera’s lens? Have we forgotten where we’re standing ?
