What LoKee tells us:
"Toronto, spring 2022. I have been invited by the Alliance Française to take a look at this gigantic city on the shores of Lake Ontario. The objective? To produce a photographic work that will lead to an exhibition where views of Paris will be confronted with views taken on site. The subject? None, carte blanche. Normally, before a trip, you get to know as much as possible about the city you are going to visit, don't you? Well, I decided to do the opposite. In order not to diminish the intensity of my emotions, I wanted to arrive with a blank slate. In fact, I know nothing about Toronto. However, I know that I will refuse to give a tourist vision of it. I do know my "weaknesses" and I know that I will walk, walk and walk some more. Anyway, this is the best way I know to discover a city and I am not here to reinvent myself. I have been invited to do what I am "known" for. So, as usual, I track down the light and the lines. Irrevocably attached to my favourite themes of passage and absence, I track shadows and silhouettes. I linger on the little things in the margins, those that most people don't notice. Finally, in a black and white narrative, Yonge Street, King Street, Queen Street, and Dundas Street answer to Rivoli Street, Boulevard de Saint-Germain and Saint-Honorine Street. The waterfront replicates the quays of the Seine and the High Park the Luxembourg garden. The places obviously differ but I believe that an artistic unity gathers them especially."
I like to say that there are photographers who take pictures to meet others and there are photographers who take pictures to meet themselves. I clearly belong to this second category.
Photographer of the weak time
Like Raymond Depardon, Henry Cartier-Bresson or André Kertesz who shared and still share the love of "low time", I am seduced by the poetry of the banal. If everyone will understand the meaning of "strong time", "weak time" is the opposite.
In the weak time, the tension is elsewhere. I believe that the absence of a sensational event does not justify not making a photograph. In fact, I think the exact opposite.
Suggestion as a weapon
In the continuity of this attraction for the banal, my approach is marked by a modesty that translates into a distance with my subjects. The characters when they are present, are often only shadows, reflections, silhouettes regularly from behind and crossing the frame. This reminds us that passage and absence are recurrent themes in my work.
The chiaroscuro in pattern
My universe has a visual signature, sometimes almost minimalist, made of strong contrasts, shadows and reflections. Fascinated since childhood by the chiaroscuro and more precisely the tenebrism, I claim a direct influence by the works of Caravaggio or the Flemish painters such as Rubens, Vermeer or Rembrandt.
To learn more about the artist: https://www.lokee-
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