In November, Paris becomes an open museum dedicated to photography, thanks to important events such as "Paris Photo" and "Mois de la photo". Since 1994 another biannual festival dedicated to experimentation and the promotion of heterogeneous and lesser known young talents takes place: "Mois de la Photo Off". The ambassador of the latest edition in 2014 was Parisian Véronique Pêcheux, born in 1979, and a free-lance photographer since 2009. Her images are put together starting from real objects, that are then as if "teleported" into abstract, pure and polychromatic compositions. Alongside Véronique, the event saw other 53 International photographers cast their gaze on the new trends of the field, which she tells us about in this interview.

interview, veronique pecheux, ltvs, lancia trendvisons
Dancers (2013) con Simon Renaud

What makes "Mois de la Photo Off" unique?
"Mois de la Photo Off" strives both to be more open towards young photographers and also less academic in its selection of participating artists. It allows various talents to emerge and offers a view on contemporary photography outside of the well-tread paths of galleries, museums and big artistic events. I am honored to be able to show another side of photography through my work.

Have you noticed any particular trends with regards to expressive language?
I've observed a certain trend in the production of new forms, more abstract and less anchored to a certain idea of reality.

Tell us about your way of composing photographs. What characterizes it?
I try to abstract myself from reality and reconstruct an idea starting from real elements. I decontextualize the spaces of my images within sets or compositions that are contemporarily sober, abstract and colorful. My aim is to transform elements connected to objective reality, charging them with new values and meanings and questioning their most intimate essence.

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Dancers (2013) con Simon Renaud

You studied at École Nationale Supérieure des Arts Décoratifs in Paris and work free-lance since 2009. What did you learn during your studies and what do you put into practice in your profession?
Both during my studies and work I've learnt above all to find my own photographic voice, experimenting with different styles. When I started my own free-lance activity, my studio, I discovered all the opportunities it offers, for example finally being able to compose the images I had in my mind.

Personal project or commission: what changes in your approach?
When I start a new series, personal or via a brief, I always work in the same way: I try to reformulate as best I can the idea I have of the project. These two aspects of my work as a photographer cannot be separated because they feed off each other. My personal projects allow me to nourish my works on commission: often they're longer and give me more chances to experiment.

In one of your latest works – Molécules – you tackled the idea of balance. How did you try to convey it?
I forced each object to adapt and blend, to assume the right pose so as to result in a condition of fragile tension, in which weight plays a role of constraint. A true experimentation of the possibilities and combinations of objects was what fuelled my research into the choice and validation of different compositions. The primary idea was to always maintain a nucleus centered around composition, conceived so as to truly attract the eye on the fragility of the resulting image.

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Dancers (2013) con Simon Renaud

You often cooperate with designers that share your same visual sensibility. How do these collaborations come about?
I really enjoy working in collaboration with other creatives. It allows me to come up with ideas in new and different ways as well as to compare our points of view, which improves my own work and makes it to grow further. I like sharing and exchanging ideas. I often collaborate with graphic designer Simon Renaud. His reflections based on typography and new digital technologies, combined with mine on manipulation of objects and sense of touch, often bring us to work together on projects.

Can you tell us about your latest collaboration, in series "Between two mirrors"?
It's a project that questions the possible exchanges that take place between two representations of the body, tactile and digital. By incarnating the archetypes of models derived from the digital world and incorporating them into our tangible world we wanted to investigate the reality itself of these bodies and their representation. Fusing two versions of the human, its model and its referent, we created a new form incarnate. The resulting images communicate an ambiguity with respect to our way of perceiving these bodies and pose questions on what can define us in the digital era.

interview veronique pecheux, photography, paris, ltvs, lancia trendvisons,
Dancers (2013) con Simon Renaud

These days in the world of fashion photography big brands rely on big and affirmed photographers, to which they devote the large part of their budgets. This situation, apart from lowering the level of experimentation, also compromises the possibility of promoting younger and lesser known talents. What's your position with regards to this?
It's true, it's hard to break into the closed world of fashion, but I think you shouldn't ask too many questions and simply try to do what you like, finding alternatives. It's true that clients don't want to take any risks and prefer to rely on sure value in terms of the photographers they choose, but it's our job to prove that they can trust our work.

What is elegance for you?
I've never posed myself this question. I think it's a form of minimalism, of subverted classicalism.

Photos © veroniquepecheux.com

Interview by Fabio Falzone

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Elia Medical 2013

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Carlin International

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Carlin (2012)