Antoine Schneck

There is a dimension in Antoine Schneck's photographs that questions the questioning of something that can be as strong that will touch the first spectators of the daguerreotype. What we see seems so present that we forget the screen that the picture was upon before knowing what it intends to represent.

The abstraction of the background in night darker than ink, the immaterial transparency of the support diasec, is not enough to give the enigma key.

African faces are as close as possible, mouths of dogs, the translucent ring of scarlet beetroot, and a sculpture of iron or streamlined body of a race car has nothing in common.

Antoine Schneck's photographs of the recumbent exhibited in 2011, at the basilica of Saint-Denis alongside their royal models, seem to convey this idea of ​​eternity that the sculptor had inscribed in the marble.

The poultry merchants in Burkina Faso got removed from the market's solar glare because they do not pose with less nobility in their embellished fabrics, their trade by hand.

Between the living and the inert, the scuba of 1882, gaily named Carmagnole after its creators' name. The Carmagnole Brothers draw its enigmatic and baroque stature, offering the photographer something to satisfy his appetite for forms and materials, what to fill the desire to demystify the power of truth commonly recognized in photography. If she does not dance, her Carmagnole escapes the cliché documentary to regain its ease and space.