Issue 3 by plateform mag

Tina Kazakhishvili / LISEMAI / Gino Carrier / PlanĂ¨te Urgence - Association Humanitaire / Jaime Martinez / FBZ / Anne Caroline Paute / Dominique Bordenave / Peter Flaherty / FrĂŠderic Chabot / Claire Dorn / Philippe Micheau Ruiz / Holden Richards / Baptiste Almodovar / Nicolas Tadduni

ISSUE 030209

S U M M A R Y

Féminin Tina Kazakhishvili INTERVIEW of LISEMAI - Illustrator BURKinA Gino Carrier INTERVIEW of Planète Urgence - Humanitarian Association TEXT mE Jaime Martinez INTERVIEW of FBZ - Illustrator high hEEls Anne Caroline Paute INTERVIEW of Dominique Bordenave – Plastic surgeon gEnRE noiR Peter Flaherty INTERVIEW of Fréderic Chabot – Painter lignEs d’hoRizon Claire Dorn INTERVIEW of Philippe Micheau Ruiz - Painter wATER

Holden Richards INTERVIEW of Nicolas Tadduni - Engineer in hydraulic energy (treatment of water)

FÉMININ

Tina Kazakhishvili INTERVIEW of Ariane Robinet Et Yvette Putachas - Illustratrice

T I N A K A Z A K H I S H V I L I

FÉMININ CoUld yoU TAlK A liTTlE BiT ABoUT yoURsElF, oF yoUR ARTisTiC joURnEy... In my country, in Georgia, there is always a great artistic richesse, but alas! less and less of those to make a living off of. I have always loved arts, being an architect by training, passionate about drawing and painting. I discovered photography little by little. My father was an amateur photographer and he had darkroom material to process his film. But I did not feel all that compelled, took a few photos from time to time, but no more than that. I really started out seriously in January 2006, first by having fun with a small digital camera without any technical knowledge. Then little by little I caught the bug. My knowledge in painting helped me a lot in terms of composing, lighting... having already acquired those things. Very fast I felt limited by the small camera and so by fall I bought a reflex and perfected my technical knowledge. yoUR visUAl UnivERsE is FillEd wiTh FEmininiTy And sEnsUAliTy... I don’t really know how to define my feminine universe especially not in French (laughs), it is difficult for me to judge, really, I only know that I like feminine qualities, whether in male or female genders. What makes me tick is emotion, felt life. I prefer sensuality to simple beauty. yoU UnvEil ThE hUmAn Body wiTh A loT oF soFTnEss And wiThoUT REsoRTing To AnyThing ARTiFiCiAl... whAT is yoUR RElATionship To nUdiTy? I like nudity. It does not mean I live naked all day long (laughs). First of all it is a sign of freedom to me. We were born bare naked. To accept one’s body is a powerful thing when facing judgments of other people and clichéd conceptions of modern society. I would like to show human suffrance, and add my grain of salt and vision I feel towards it, so that this would no more be tolerated, I would like to talk about my country, the refugees, different current problems that exist. I myself have a project on psychiatric asylums, I am still waiting for authorizations. And trying to promote photography in my country by creating an exhibit gallery. There are several talented photographers here in Georgia and not many means to have them get the recognition they deserve. www.flickr.com/photos/tinatink/

L I S E M A I

INTERVIEW why did yoU ChoosE (ComiC) CARToons As FoRm oF EXpREssion And how did ThE idEA oF ThE CEnTRAl ChARACTER oCCUR To yoU? I have been drawing since I was a little girl, and now that I am not as little any more, I started again after abandoning sketches for a few years (those years when one starts to work for real, become softer, gain weight, because of lunch hours spent at restaurants, and subtracting workout during the week). One day during a meeting I cheated on boredom while scribbling a tiny character looking a bit like me, and at each meeting (there were not many of them) I gave more depth to the character. This tiny character (bearing my little name and who stole my haircut) while appropriating her, I started attibuating her funny and comical situations happening to me in my own life, she became my double on paper and I got a bit heavy on the strokes to make her more caricatural. This yoUng womAn is vERy modERn, FUll oF liFE... She represents the archetype of the Parisian single woman, independant (like a hidden cousin of Pierre Richard) to whom several anodyne (mis)adventures happen, some making one smile some laugh through the teeth. There is a lot of self-derision in these pictures, it is so much simpler not to take oneself seriously and to joke about these mishaps, anguish, smaller forms of sorrow, love and relationships, of all kinds of subjects which are part and parcel of our everyday life. This is probably why many women of all ages find themselves in these pictures, because they speak to all of them of common subjects, because there is this aspect of willingness and complicity reuniting us. Parallelly, men also are very reactive regarding these sketches, they are bemused, irritated, moved, and I always gently try to make fun of them, of us all, and the most beautiful thing that could happen is to realize that a lot of people are not insensive to them. how do yoU woRK? I do my sketches with a black fountain pen on separate sheets, on a white notebook, on tablecloth corners depending on my inspiration, I «scan» the result and colorize old school style with a graphic design software, but now I am thinking about adopting a graphics tablet to make the process more fluid. And finally the most important is to know how to manage these moments of overwhelming creativity and periods of drought. whosE woRK, in TERms oF CARToonism And Blogging, do yoU AppRECiATE ThE mosT AT ThE momEnT? During all my childhood I have been nourished by Claire Brétécher’s cartoons, whose work I deeply admire, whose work touches me for several reasons and makes me laugh a lot. I have discovered the universe of Aude Picault not such a long time ago via a friend who lent me her series «moi je» and I was impressed by her flying strokes, the tone and small scenes so well seen, this apparent ease. I also appreciate the work of Pénélope Bagieu but the one who makes me laugh the most at the moment (without pictures) is Simone de Bougeoir. do yoU hAvE oThER wishEs, oThER pRojECTs AT hAnd? I would like to finalize my blog at long last to share these pictures on a larger scope, and also, at term, an irresistible willingness to group them to make a small book out of them. On the side I also work with Patrick Goujon, a writer whose work I love, on a project of texts and complementary pictures, linked to two different visual universes, a beautiful challenge. lisemai@gmail.com http://www.flickr.com/photos/lisemai/

BURKINA

Gino Carrier INTERVIEW of PlanĂ¨te Urgence - Association Humanitaire

G I N O C A R R i E R

BURKINA Burkina Faso : Land of the integrated men. Social and cultural exchange of photographic nature between Quebec and Burkina Faso, by Gino Carrier and Michel Thibault. Photographs by Gino Carrier. We have deliberatelly chose Burkina Faso in order to create the «Draw me your picture» project, fascinated by the poetry of the name of this country. Moré and Dioula are the two main ethnical languages of Burkina Faso which makes it the land of the integrated men. We kept in mind that sense of integrity and simply took photographs as they are now. This three months trip to Ouagadougou allowed us to discover a parcel of the African continent and its cultures. We often heard from the mouths of our burkinabes friends: «As time goes by, if God wants it, it will be fine.». That’s what we all agreed on, to take time. Time to get to know people and get along and then take our cameras out. Basically, the project was about an exchange of drawings with photographs between Quebec and an African french speaking country, Burkina Faso. The drawings were made by young school children from Quebec that we collected before we left to give to young african school children. In return, young burkinabes sent their drawings of their everyday lives and culture to young children from Quebec. We took photographs to look alike the drawings children made so when we came back schools could be visited for exchanging their drawings, pictures and stories. Thanks to the achievement of this project, it was possible to feed ourselves with the exotism of a nation and its people. Meeting with student have been unforgettable moments, instant of exchange where tolerance and respect turned out to be the key of a better link between cultures. The integration of the everyday life of people gave us the possibility to take pictures without any posings so we can steal the spectacular and sensationnalism. Life offers all its beauty to people who, by their implication, respect and awareness will receive these moments of intimacy. These pictures reflect our social and moral learning as well as the use of photography as an extension of our sensibility. gino.c@videotron.ca

P L A N È T E U R G E N C E

INTERVIEW TEll Us ABoUT plAnèTE URgEnCE Planète Urgence is a non-profit association. For the last eight years they have worked on programs related to development and protection of environment in Southern countries by supporting the initiatives of local structures with adult training missions or school help, so as to encourage schooling in countries where poverty and undesirable teaching conditions penalize school attendence. These actions would not exist without the help of French companies, partners of Planete Urgence. These companies enable their employees to be engaged in these projects. For several years, a Support Vacation system is available to the volunteers who have difficulty obtaining financial support from their respective companies, or for retired volunteers or students. Thanks to this original concept, we offer short missions lasting 2 to 3 weeks. On the sidelines, we are involved in reforestation projects. Our « Forest Climate » operation enables companies, administrations, end consumers and employees to compensate their CO2 emissions by financially supporting our projects. whAT do yoU do in BURKinA FAso ? We have been active in Burkina Faso since 2004, along with oragnizations spread out in various regions : Sissili, Boulkiemdé and Kadiogo. These structures work locally and in different areas such as education, the environment and social work... do pRioRiTiEs REsidE in TRAining And EdUCATion ? Yes, because it is the essence of our work. These are two main areas in the development projects in the North and South. Training and education are a part of the Development Millennium Goals set up by the UN. It is important to point out that Planète Urgence has no intention to compete with or take the place of local markets. The training we provide doesn’t exist locally, and although some is in place, the running cost is far too high for community structures. So we offer various missions: office automation, project management, accounting, website, sewing workshops, communication... Regarding education, our socio-educational projects help teachers and children discover different and fun workshops involving techniques using books and educational games. wE CAn sEnsE A willingnEss To inCREAsE pUBliC AwAREnEss on ThEmEs sUCh As hygiEnE... We don’t do this directly, as our partners are much more capable of this than we are. They know the habits of the local population and how to convey messages. We help with their projects so as to support them in their daily work. For instance, voluntary workers travel to schools on socio-educational missions to work with teachers and parent delegate oragnizations to help set-up original and fun projects on the theme of hygiene. Other volunteers leave on farming training projects and awareness to biological composting techniques. Each time, they work directly with the people in charge and there is no question of them taking over. whAT Kind oF pRoFilEs ARE yoU looKing FoR ? For ability reinforcement missions with adults, we are looking for profiles in adequacy with the training goals mentioned on our website : www.planete-urgence.org Concerning schooling missions, we are looking for people with personal or professional skills in youth animation, education and tutoring. Motivation and ability to adapt are extremely important because one constantly has to be in search of exchange with the local population. In order to leave on a mission, the keywords are adaptability, humility and tolerance.

TEXT ME

Jaime Martinez INTERVIEW of FBZ - Illustrator

J A I M E M A R T I N E Z

TEXTE ME how did This sERiEs oCCUR To yoU ? It was summer 2005 in Germany. I wanted to make a video to show in one photo-exhibition I had in that time. Normally I dont make videos for my exhibitions, but this time I wanted to make something different. The result was not bad but also not great. When i was editing the video I liked to pause it in several parts. I ended up making video stills and printing them as photos. I was more happy with this «version» of the video. iT’s liKE A joURnEy.... When I was making the video I wanted to make like a short fiction tale. It was with no sound, so I wanted to recreate the feeling of walking alone in the city and forest (the city where i made it was next to the forest). I was exactly doing that at that time -spending a lot of time walking alone- so it was not so difficult to recreate the sensation. yoU sUBTiTlE yoUR piCTUREs liKE in sToRy-TElling .... About the subtitles, it was complementing that sensation of loneliness I wanted. These «subtitles» are actually text messages I was receiving from my girlfriend at that time. It was difficult because she was German and I’m Mexican, so we had a lot of communication troubles due to the language. We had to communicate in our version of English because her Spanish and my German were not very good. http://www.flickr.com/photos/liebemarlene/1046050873/

F B Z

INTERVIEW how ComE yoU miX wRiTing And dRAwing? I have been drawing since I was a kid. At the time, I used to tell stories, either in the form of comics (with windows and phylacteries), or in the book or magazine format: I used to cut out my pages into format, stappled or scotch-taped them, and chose a title (even subtitles sometimes)... So I drew letterheads. It seemed obvious to me, as at the end of the day it’s the same object. Growing up, I grew to like and understand letter drawing, typography. Then I turned towards studying to become a graphic designer, hoping to be able to mix drawings, illustrations and lettering... Today, this is my profession, but I can’t find the magic sense of freedom I had when I was making my fanzines back when I was a kid. So on the margins of my dayjob, I developed an artistic activity that enables me to do graphic design work without the pressure of what is being commissioned, the message, deadlines, etc... I fill out sketch books or large Canson sheets and scribble on the back of envelopes... I illustrate my shopping lists.... how do yoU ConsTRUCT yoUR dRAwings ? It is rather a deconstruction. Without it being a constraint, I have imposed to myself to juxtapose my drawings one next to each other so that a natural « mass » is formed, difformed, a visual conglomeration... In the beggining I called them graphic puddings. I never use a pencil and I don’t anticipate. whAT ARE yoUR inspiRATions ? Ideas come to me little by little. I take the good as being the worst: I sometimes write down phone numbers, a sentence I have heard, the words of a song I’m listening to. It’s direct inspiration. For instance, if there’s a wildlife documentary on TV on sleeping otters, I’ll stick it in...if there’s a woman’s magazine next to me with an open advertizing page and I’m listening to the Clash saying to myself « Take your shoes off », I’ll grab everything and mix it up. My brain chooses these ingredients, my hand is the shaker, and the cocktail splashes out on my piece of paper... do yoU wAnT To TEll A diFFEREnT sToRy in EACh oF yoUR dRAwings? No, I don’t think I try to specifically tell a story. Stories, maybe. Not necessarily. However, there are recurrent themes (or graphic signs): Mexican jaguar masks, skulls, punk music, Royal Air Forace target, lettering, joie de vivre but also anger (mainly against my boss or those fucking clients at work), etc... I don’t often make a series with a theme or a given common denominator. whAT ARE yoUR pRojECTs FoR ThE FUTURE? I’m currently exhibiting my drawings with the action groups OneShot SPK at the Glaz’Art in Paris until March 2nd. I’d like to be able to have two or three more exhibitions this year, why not somewhere else in Europe.... I’m planning to publish a small book with a facsimile of my sketches or a selection of my last year’s drawings. I also want to make silkscreen prints. Also badges. I’ve got lots of other ideas... I have been asked for years to make my own comics book and I’m scared to do it. I know, its stupid... NB: can you give me the links to your different addresses please? myspace, site, exhibition.... http://www.francoisbegnez.com http://www.myspace.com/francoisbegnez http://www.ipernity.com/home/fbegnez

HIGH HEELS

Anne Caroline Paute INTERVIEW of Dominique Bordenave - plasticien

A N N E C A R O L I N E P A U T E

HIGH HEELS why This sERiEs ? The t-shirt is the perfect medium so as to communicate personal ideas. The t-shirt and music are part and parcel of the same thing since the 60s thanks to the Beatles among others. The big era of the t-shirt from 1974 to 1985 leads to the revival of the vintage t-shirt today in the music scene FEET spEAK FoR ThEmsElvEs.... Indeed, they are true accessories. do yoU CollECT shoEs ? No, I don’t have any particular addiction for shoes, and even less for heels! I’m incapable of walking above the ground, I’m happy with a good pair of Converse shoes or Derbys. However, I do have a great time watching women’s hysteria in front of a Louboutin or Sergio R window display. I love watching them arrive at the start of the evening wearing their latest aquisition to then see them at the end with the pressing urge to release their feet from them! annecaro@gmail.com

D O M I N I Q U E B O R D E N A V E

INTERVIEW dominiqUE, yoU woRK on plAsTiC... TEll Us ABoUT ThAT. There is a wide range of material with plastic. It’s a generic term. Plastic artist? More about «plastic arts». I don’t want to define myself as a sculptor. I work with volume and space, but in a distant way, it is even opposed to the traditional approach on addition or subtraction of substance. I am currently working only on surfaces. Plastic suits me perfectly. why do yoU woRK on mETAlliC CAnvAs? Metallic canvas is both railing and cloth... a matrix and skin as well. It’s rational and sensual at once... geometric and alive. You can consider the canvas as a space with specific features. I first got my inspiration from the idea that each living shape is built, in its development, of one and only membrane or cloth. What’s alive is all about display. If the material is a cloth, then the processing is the folding of it. I like to wrap shapes that only exist in my mind... how do yoU ChoosE yoUR mATERiAl, ThE diFFEREnT mETAls? I tested many different metals and each has its specificities. I tried steel, stainless and bronze for their characteristics of staying still. I recently had the completed pieces of work covered up with precious metals such as gold, palladium or ruthenium to preserve a durable reflection, and increased by light and reflection, the fundamentally immaterial nature of this work. This work is immaterial in two senses : First, everything’s settling in a mental process where my mind abides by the material properties to define a cut and fold plan. Everything’s settled before the first shear of the canvas. Then, in its physical application, it’s a process where a surface is wrapping a volume that doesn’t exist... My surface describes in some way the luminescent interface of things, it’s neither in nor out... In a three-dimensional world, any given two dimensional form is an abstraction. how did ThE FETish sERiEs ComE To liFE? whAT is This Thing ARoUnd ThE shoE? I might be somewhat of a fetish ... The project I am currently working on has first led me to explore several organic and visceral forms, from the inside out, with skulls and skeletons first as structures to work on. Then complete shapes, human and animal, the surface that is skin. That interface between inner and outer space. I combined body and clothes in the same piece of canvas, in the same folding process, draped with details. That’s how shoes imposed themselves on me. I am quite fond of this object... A fetish is an artifact involving magic and power. Shoes are cult objects completely fitting that defintion. If some idolize guns as «manly» persuasion object, «hard power» symbol, heels are worshipped in a more universal way. It’s an object of persuasion too, but with seduction, fascination and dream... The contemporary authority in charge grabbed the effectiveness of «soft power»... The Fetish series addresses the question of «end justifying the means». Beauty, seduction and dream, but to what avail? ThE dEvElopmEnT oF yoUR ART is AmAzing... FRom FinE ARTs, To volUmE pAinTing ThEn misUsing oF oBjECTs And vidEo gAmEs. BUT in ThE End, in All This, whAT is iT ThAT yoU ARE AFTER? To be honest, if there are connections, there also is real breakage. After fifteen years of an exciting artistic career taking me all around the world with «Shoe-Faces», I felt like creating a more important context for human exchange, so as to do something less solitary. I fed huge projects with my artistic experience, such as the birth of contemporary video games. The link, therefore, is this surface, this space one folds to build beings and worlds. Today my woven surfaces, transparent and reflecting disguise the movement of consciousness and reveal the void. I invite everyone in a world where nominating things doesn’t even mean anything anymore, where only remain verbs and their actions... a world of flux, unmaterialized. See, after video games, I eventually came back to more serious matters...

Gyslain Yarhi http://www.gyslainyarhi.com Tel :+33 6 60 91 34 46

GENRE NOIR

Peter Flaherty INTERVIEW of FrĂŠderic Chabot - Peintre

P E T E R F L A H E R T Y

GENRE NOIR how do yoU ChoosE To TAKE A piCTURE? There’s something about putting light and shadow onto film or digitally, that for me often transforms mundane things or moments into something of beauty. The challenge for me is spotting these moments or objects and capturing them.This is often my main aim. i only use natural light and try and find natural low key lighting situations. why ThE ChoosE oF BlACK And whiTE? I mostly shoot B&W,coming from a graphic design background, it gives me a more graphic look. Most of my work is based on line, light and shadow. So color often distracts from these fundamentals. Also by taking the moments in time, and converting them into B&W, adds for me, a certain beauty that isnt normally seen by the naked eye. ARE yoU inspiREd By ThE noiR gEnRE? The early work of German Expressionism and italian Chiaroscuro are a great inspiration to me. I like to use shadows as an large component of my work, i feel that the shadows often defines the object more so than actual object itself. Obviously «noir» plays a big part in my B&W work. i tended to use low key lighting schemes to produce stark light/dark contrasts and dramatic shadow patterning. website: www.peterflaherty.com contact: info@bfdesignstudio.com

F R É D É R I C C H A B O T

INTERVIEW whERE is ThE oRigin oF This sERiEs? From music as I used to be a musician, as well as from movies in black and white and from a woman smoking a long-shaped cigarette. TEXT And pAinTing ARE miXEd in yoUR woRK... whERE is ThE soURCE oF yoUR inspiRATion? The picture of which I have something to say about is found first, words come afterwards. Text, here, is like an object in everyday life. It is only a direction, a crutch for false movements of the eye, maybe. I find my inspiration in bittersweet flavors, and the same in the fruit freezer, as well. And on torn-down walls. In everything that is simple and complex at once, actually. ThE UnivERs yoU pREsEnT is qUiTE dARK... BlACK is ThE pREdominAnT ColoR... No. Everybody knows and lives this fight. On blackness or a dark color I control, in a way, the lighting, (emotional) density. Sometimes one may see faces, one may even see dust fall on it. A white page eats up all color. ThERE is This inTERplAy BETwEEn FEmininE And mAsCUlinE... This interplay... always. ARE yoU CURREnTly woRKing on AnoThER pRojECT? Taking photos, more portraits (without hiding the faces). Drawing eyes, because I never seem to get it right, really, bonding the wrists and the ankles of a contemporary dancer, with laces to make her move slowly. fredericarthur.c@gmail.com www.flickr.com/photos/fredcfred/

LIGNES D’HORIZON

Claire Dorn INTERVIEW of Philippe Micheau Ruiz - Peintre

C L A I R E D O R N

HORIZON LINES whAT is ThE sToRy BEhind This sERiEs? It is about a particular appeal towards melancholy, the will to photograph emptiness...maybe also the will to paint, or to touch the concept of universality... I have the impression that these pictures call for everyone to look, maybe, a tiny bit beyond absence... ThE hoRizon is UBiqUiToUs ... The horizon is a graphical element anchoring the picture, allowing it to pose itself. This line, actually quite abstract, prevents from floating away. The horizon allows one to become conscious of the weight keeping us on the ground, of gravity. It is this horizon one is at the very beginning, taking the place of the observer. To comtemplate the horizon, equates posing an eye on it, thereby, a thought. This justifies the place of the human being in a landscape where the human subject is missing. why ThEsE «sqUARE» lAndsCApEs? When one frames in square, it works each time, it’s some sort of magic. In a square the picture rotates, and this way the square format does not seem to be a square at all to me, but rather, a circle. It is this organization, this perfect circular shape, that I find particularly soothing. The circle becomes complete, absolute and integral; as if everything had found its equilibrium in a harmonious way. This shape recalling a particular sense of serenity well allies with the appeal of melancholy and void... an invitation for a journey, of sorts. claire@clairedorn.com http://www.clairedorn.com

P H I L I P P E M I C H E A U R U I Z

INTERVIEW whERE do yoU gET yoUR inspiRATion whEn yoU pAinT? I usually am not in a moment of reflexion when I paint. I don’t work with visual supports or pictures of landscapes, I work with that trace of landscape I saw, that I kept in mind except that when I start to paint this memory is not accurate. When I start to paint it is always something that comes to mind linked with what I could remember or see, so I let that appear even whitout noticing. It is never a clear perception of what I am about to paint, it is always a moment when I seize a trace of this sensation I had of that landscape and especially of the light in it. It is always something spontaneous which relies on an unconscious memory. It is through painting that an environment is revealed to me. And it causes everytime my astonishment because it is a finding. why is yoUR lAsT sERiEs EnTiTlEd «psyChiCs lAndsCApEs»? Because the term here comes with two meanings which at first cannot come together but describe an middle state between what is felt and what is seen, internal and external. It comes to a questionning on how environment participate in our psychic state and each time connect us with the origins of psyche construction and human emotions. In other words, what human beings are capable of feel of their surroundings that particpate in the psyche within? Eventually, it is as if what participated in internal universe within each human being was linked with fragments of his own environment too. It is the extend of reflexion around «Fragments», my last but one series. wE noTiCE in This sERiE, pREdominAnT ColoRs As BlACK, gREEn And BlUE... My work is not based on the symbolic of colors. The landscapes are born from a feeling I have while painting. And in this series, the sensations were mostly about stormy landscapes, with a high density and condensed light. We could extend this link to our actual time. These landscapes are imbued with the actual torment, they reflect the torment in the actual environment, hence the blue series all these storms approaching. But I believe that beyond the torment , there is light; landscapes that let the perspective of light emerge. And it is this perspective that guides me in my work, my sensations. To seek beyond psychic confusion or mental, beyond trouble, blurry apparition of a landscape, world or universe. www.philippemicheauruiz.com

WATER

Holden Richards INTERVIEW of Engineer in hydraulic energy Nicolas Tadduni

H O L D E N R I C H A R D S

WATER ThEsE phoTos wERE TAKEn in diFFEREnT plACEs..... And have a unity of theme to me. The inherent timeless beauty of landscape and water. Whether camping on an unhabited sea island observing wild horses, wandering to long abandoned 18th century locations on the Rivers of North Carolina or exploring the marshland of the Piedmont the abundance of wildlife and diversity of flora never fail to overwhelm me. I am in my proper place in the world, that of the empathetic observer. The vibrational match to that which I see. ThE divERsiTy oF plACEs givEs diFFEREnT TEXTUREs To wATER.... The endless roil of the sea with its ebb and flow. The ruthless run of the river often catastrophically clearing all that before it and other times ever so gently creeping lazily on. The brackish, sleeping water of the marshland with its mysterious power to support a myriad of species. The quality of a solid sheet of fluid water rejecting all attempts of sunlight to penetrate its depth to a shallow flow the embodiment of light and glimmer. whEn ThinKing oF wATER As EnERgy.... I often think of its spiritual energy. The engine of revitalization I feel everytime I witness its own seemingly intentional action in landscape. The energy of water is subtlely sentient, it knows. We can often feel that somehow. The molecular mechanics of water is indeed energy itâ&#x20AC;&#x2122;s always making and remaking itself the same way it makes and remakes the environment around it. Water is power. http://flickr.com/photos/holdenrichards/ holden@kitchenmedia.com

N I C O L A S T A D D U N I

INTERVIEW whAT Kind oF sTUdiEs did yoU do? After a preparatory class, I took chemistry in Rennes ( ENSCR ) and specialized in chemical engineering applied to the environment ( which means treament of water, air, and waste material ). After few internships in research laboratory ( CEMAGREF, school of Mines... ) I went to Marseille for a first experience in a « start-up » which treat sediments of dredging, as a research and development engineer. Then I started my job four years ago as a research department engineer and since one year, as a responsable of research department on a big construction site in the domain of export in Africa ( realisation of a construction site of treatment, drinkable water, and collection and treatment of waste water ). why did yoU ChoosE wATER TREATmEnT? For me, my internships made me work more on the research and waste treatment. But since I went to Marseille, I was open to all propositions. Then I had the oportunity to meet the directors of a start-up on a professional show-room ( Pollutec ). Their job was half-way between water treatment and waste treatment. This helped me to choose water purification. in yoUR woRK, wAT is ThE plACE oF ECology And iTs sTAndARds? In our projects, ecology takes more and more place: From now on our clients ( municipalities or privately held corporations ) care particularly about energetic spending, about recyclable materials ... Our task is not anymore limited with water treatment but we also need to have a global and innovative approach. There are more and more standards which are increasingly demanding. We also care a lot on people who work in our factories with hygienes rules and security. And beyond ecology, with drinkable water, we also have oversight on sanitary standards. Standards are very important in our line of work whAT ARE ThE sTAKEs oF wATER TodAy in FRAnCE And in ThE oThER CoUnTRiEs ? For drinkable water, the stakes are principally on preservation of resources. Its decreasing become dangerous in some parts of the world, but in some part of France too. For the waste water, two important things : - in developing countries, the stakes about the future of the by-products of treatment, the « muds ». - in other countries, there is a lot of work to do on water treatment. Even if it’s not the priority, those countries care more and more about ecological dangers. whiCh Big pRojECTs ARE impoRTAnT To oTv ? We have some big projects in Autralia and in the average east, with the «inverse osmosis « technic, which help to put off the salt of the sea water in order to be drinkable. In France, we’ve just finished the Marseille factory ( the bigger buried water-treatment plant in the world ). We also have an engagment to give drinkable water to deprive people. For example in Bangladesh, a partnership between us and an NGO helped to set up a first treatment unity,and to be able to deliver water to 25 000 people. http://www.veoliaeau.com

ÂŠ Baptiste Almodovar http://www.almo.book.fr http://www.myspace.com/almografism

Louise Imagine http://www.flickr.com/photos/louiseimagine/ www.myspace.com/louiseimagine

Have participated to this issue : Carine Lautier : Chief Editor Laurence Guenoun : Artistic Director Julie Tadduni : Sub - Editor & Control Advertising ( 06 79 64 48 12 ) Nathalie Bataille : Graphic designer Mathieu Drouet : Web Master Marie Coulangeon : RP & Contributor Eric Battistelli : Contributor Paola Spaventa : Contributor Ann Marie Simard : Contributor & Translation Vincent Benhartt : Translation Raphael Duizend : Translation Felicity Constant : Translation Margaux Batistelli : Cover’s photo Thank-you notes : SOPHIE L CUVÉ Le collectif « The One Shot SPK » CANDICE NGUYEN Http://lutecewoman.blogspot.com/