BIOGRAPHY
A professional photographer and videographer since 2011, he has spent over a decade working alongside businesses on portraits, events, and conferences — a practice that taught him discipline, technique, and an eye for the decisive moment.
Alongside this commercial work, David has built a distinct body of fine art photography, exhibited regularly since 2013.
A member of the Société des Artistes Français since 2015, his work has been recognised with numerous awards, including the Gold Medal at Art Capital — Salon des Artistes Français (2026), the Assemblée Nationale Medal (2025), and the Public Award at the Yacht Racing Image Award / METSTRADE in Amsterdam (2024).
His work has also been exhibited internationally, notably at the Russian Academy of Fine Arts in Moscow. His practice moves across four distinct bodies of work — Paysages, Marines, Humans, and Experiences — spanning contrasted black and white landscapes, the motion and light of open water, the human body as a language, and collaborative pieces that sit at the boundary between photography and painting.
ARTISTIC STATEMENT
I love to communicate, to talk, to feel.
Portrait photography is one of my favourite pursuits — I love photographing human beings in their non-verbal communication.
During my many travels, I try to provoke opportunities to photograph landscapes, which I often render in contrasted black and white — often at sea, often in the mountains.
The sea, in particular, has become a recurring subject: its movement, its light, and the discipline of the boats that cross it. Fine art photography is far removed from the corporate world of conferences and events, but this artistic parenthesis is a breath of fresh air that is indispensable to my practice as a photographer.
Landscape photography is, by nature, tied to discovery — to new places, to maritime events, to locations where we go looking for something worth capturing. This is the usual path.
What separates one photograph of a landscape from another of the same place is a question of perspective and interpretation. We capture what unfolds before our eyes. We are subject to it. We are either there at the right moment, or we are not.
In the Experiences series, I do the opposite: I provoke the situation. I build the context, construct it, make it "photographable" — and this process is always driven by the intention to share it, to exhibit it, to show it to others.
The subjects of these experiences are sometimes born from a work of art, or an encounter with an artist, that moved me — sometimes profoundly.
What follows is a slow process: creating the experience means bringing together several elements — a model, a technique, a location — but it also means allowing myself the freedom to create without being influenced by what surrounds me, or by others.
The works that emerge are deeply personal. Beyond what is visible, they express what I cannot say — what I have never quite managed to put into words.