C.O. You have worked for a long time as a “documentary photographer” throughout the world, represented by the VU’ agency. But, in reality, you have always chosen your subjects rather than executing orders. From the beginning, you have been an author instead of making documentary or press images.
G.Z.. Of course, there is an authorial approach, even if at the time I wasn’t really aware of it. Moreover, if Christian Caujolle brought me to VU’, it was already because of my personal style. I quickly abandoned the documentary aspect to build my world. I create films through my eyes, rather than translating reality as everyone else sees it. My techniques of expression help me to achieve this. The overprints were the first door opened to leave reality, to work in the laboratory, to explore my vision.
g.z. : I first had the great advantage of not being an unknown because I had spent three months in the Perche. The relational fabric that was created during this residency was the starting point for this new photographic campaign. Without it, it would have been difficult and very long. It is this first network of friends that opened the door to others, to their friends, neighbors, etc. They gave me their trust. They gave me their trust. They committed themselves for me to the inhabitants who, not knowing me, opened their doors to me. This is not a small thing on their part. I met a very beautiful humanity in people who are not used to being photographed. Some were embarrassed, by modesty or shyness, to be photographed and to deliver their universe but they complied. Others were delighted and asked for more. And sometimes, inhabitants who had accepted at the time of the act, refused it.