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  • Et s'il n'y avait rien au bout de l'horizon ? , 2023 - n°3
  • Et s'il n'y avait rien au bout de l'horizon ? , 2019 - n°2
  • Et s'il n'y avait rien au bout de l'horizon ? , 2020 - n°1

FLOC'H Erwan, photography

I calm the noise of my incessant questions by photography, by escaping in the astonishment, when it is not in the beauty, or by questioning what surrounds me. I then lead the investigation in the family - of blood or of heart, the small or the big one. Like in a Keith Jarrett concert, I enjoy being rocked and shaken by a chaos of joys and sorrows, accelerations and appeasements.

Like Alice in Wonderland, I discover the strangeness of a society that questions me in return on what I am. I reconstruct these other lives with the slowness and detail of a Dostoyevsky novel, offering some answers and new questions.

Little by little I will shed my rational clothes until I am naked in front of the impossible understanding of life. And I will wear the only mask of emotion, the one that connects me to the other and to the world.

Erwan Floc'h


Very early on, I had the impression that I was different: in second grade, my math teacher called me an alien. With my close family too, my parents and my sister, I feel like an outsider. To inscribe myself in a story, I use family photographs, which my maternal grandmother accompanies with marvelous stories: a circus, gypsies, Niagara Falls on a wire... But my father's history, as a farmer, is a strong counterweight, rooted for five centuries in the silent land of Finistère. Faced with an impossible choice, which is also revealed in relation to society, I take refuge, so as not to be alone, in the role of the nice guy and the prince charming. The photograph is then only a simple trace, a proof of my life.
For fifteen years, I look for myself: engineering degree, two years in Japan in finance, four months alone in Asia, four years in consulting in Paris, studies in political science, and five years in the associative world. 2014, last and necessary step aside: put photography at the center and express myself personally. It becomes my job, mainly for public utility organizations and the performing arts. Photography is no longer for me a simple imprint but a means of acceptance and construction. It allows me to be both present to what surrounds me and what constitutes me in order to understand it while keeping it at the right distance.

Through photography, I try to calm this anxiety which is mine to locate myself in the world. This intranquillity is a constant questioning of my choices and their consequences. What would be a good life for me? How do I know if my presence to others is the right one? This leads to questions about my freedom in a society full of injunctions, in permanent acceleration, where one idea drives out the other.

Photography helps me to stop the course of time as well as that of my thoughts. During the act itself, appeasement is achieved. It is prolonged by the reflection that my work brings on subjects which, even if they are universal, touch me in the first place. It makes me enter into its complexity, into its weak signals that only time can offer. The other then becomes less of a stranger to me and helps me to build or simply accept my own singularity. 

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