Since the late 1980s, Philippe Gronon has been developing a body of work whose main instrument is the camera. His starting point is the simplest definition of photography: an image-making technique that records reality as it is.
This is reflected in the following production protocol: almost all the objects he photographs, or more recently digitises, are taken in frontal view, to scale 1, and removed from any context of space or time, so that they are presented only in their simplest form. From shooting to printing, the specific resources of film and digital are combined according to the desired result. Most of the objects that capture his attention have a function of physical or mental transition, exchange, passage or communication. The precision with which these objects are photographed and then represented leads the viewer to scrutinise the minutest detail and, at the same time, to reflect on the meaning of these objects and what they reveal about human activity, art and thought.
