Abstract
The author describes his research in photography. Looking for the specificity of its artistic expression and adopting an analytical attitude, he soon found himself confronted by a limit. In 1978, his work reflected the idea that the photo of a white sheet of paper is a white sheet of paper; the white sheet of paper is what it is—both the photo and the object. In opposition to photography regarded as a tool of the mass media and used as a convincing advertising image, he has explored its meditative, silent aspect. Despite the technical characteristics of this medium, he learned of and joined the tradition that considers silence a creative force. Sketching the general lines of this tradition, he tries to show that the silence in aesthetic contemplation does not mean an escape from the world but rather an opening for conversation.
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