Magical realism nihilism POLE

Photographing poles represents, for me, a nearly revolutionary act—a gesture that questions the very essence of photography. Far from merely capturing an ostensibly objective reality, photography reveals itself here as a performative act, an active tool in the creation of a new reality. By elevating a banal, insignificant object—a pole—to the status of something desirable and mystified, this act simultaneously reproduces and deconstructs the logic of advertising, where everyday objects as mundane as clothing, perfume, or chewing gum are magnified and overinvested with meaning. This choice implicitly critiques visual conventions: instead of succumbing to the obvious beauty of the landscape unfolding behind the pole, I shift the focus to this marginalized element. This act becomes a game, a playful redirection of attention that generates a double layer of creativity. On the one hand, it deconstructs the aesthetic hierarchy between what is deemed worthy of interest and what is not; on the other, it redefines the function of the photographic image as a producer of reality, where the insignificant is imbued with significance. In this tension, photography reveals its power to reconfigure perception and, by extension, the discourses that structure our relationship to the world.

taking picture of pole is kind of a revolutionnairy act for me, it shows the very essence of how photography doesn't capture reality, but it is an active creator of reality, It shows photography can elevate the most boring and uninteresting object as desirable, mystification. It make the parallel with publicity, selling you fashions, perfume, gum. insignificant object ultra magnify. It also a play , a game for me, instead of taking the beautifull lanscape behind the pole, i will choose the pole, making a double layer of creativity

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