… or an excuse for an encounter

The bi-portrait began as a photographic project, as this site can prove. It allows for multiplication.
The bi-portrait consequently generates extensions, other forms.
The bi-portrait thus summons different media. For example, after the photographic project, a film and a choreographic duo were created.

The bi-portrait is designed more as a process than a project, in the sense that it is in perpetual evolution, both in its form and in what it tends to say and provoke.

The bi-portrait also starts with a question: what does it mean for me to be a performer today (I am, among other things, a dancer)?
When I began the bi-portrait, I wanted it to be simple and effective in its application. It was a matter of reconversion.

The bi-portrait is, above all else, a desire to go towards something.
The bi-portrait had a subtitle: “or an excuse for an encounter.” Indeed, the latter is most often brought about, either randomly, or by force.
Sometimes, chance meetings would happen while walking down the streets of a city, crossing paths with its inhabitants, its professionals, its participants. The photographic medium is a simple and tangible way to approach people.

The bi-portrait follows a very simple procedure of costume exchange.
First, beyond any craft and savoir-faire, let us challenge codes.
The clothes and the context make the man, I told myself.
The bi-portrait is made up of:

• a first portrait (the bi-portraitee, the encountered man/woman):
  I make this person wear an outfit that belongs to me, which is always the same: a yellow cotton shirt, polyester pants, and leather ankle boots.
  Given the homogenization of the motif represented by the bi-portrait outfit, I allow a face, a body, a person to appear.
• of a second portrait (the bi-portraitist, meaning myself):
  In my case, I wear the uniform offered to me: work clothes that are sometimes charged with meaning, or sometimes nondescript, everyday clothes. Getting into someone else’s skin. A pure fiction over the temporal space of, in the context of. Here, the body becomes a motif which, through repetition, diminishes.
  The bi-portrait is neither a portrait of others, and even less so a self-portrait.

The bi-portrait is geographic, it develops in accordance with a context, it moves about, it reveals itself little by little through networks, dependant on the links people generate, by ricochet, like a game of dominos, all of which has consequences on the pursuit of other portraits.