Cet artiste met en scène des centaines de boilles à lait dans les paysages

I'm attached to my boys, and in the morning when I wake up it's the first thing I do. I look, they're happy, they're all there. They have moods that often work through mimicry, with my personal mood. I'm surrounded by boys and it somehow becomes a way of life. But I don't go on vacation with all of them yet. I could maybe take one or two, but they're still here. I have someone here who takes care of them while I'm on vacation. Don't move. I'm sorry I didn't say hello to you before taking your pictures, but it was great. Hello. How are you? Good, thank you. I'm going to continue, there's a lot of light. The sun is good this morning. And with this... Yes, thank you. There's a lot of light. I like to show you right away. Great. These are my friends, the boys. Magnificent. You don't often see so many at once. Not so much. Look, this is good. These are alive. Look how beautiful they are. Hello. How are you? And you? Yes, thank you. How many liters? Eight? Yes. But you have 30 liters. Half, it's water. Really? It's a pretty rare model. Are you attached to your boys? Yes, of course. You all have chalets in La Manche. I live exactly there. My house is there. It's in France, in the French Jura. It's a bit after Saint-Sergue. It's my grandfather's farm here. I live in the house there. How many girls did you have this morning? Eight. Eight? The farmers who give me the milk, I feel that they have an emotional attachment to their boys. Because often it's the parents who bought them, or the grandparents. They worked with these boys when they were very young. So for them it's still an attachment. We know them, like Gérard does, as if they were characters. We know our boys. I'm going to make a campbill, with your idea of a character. So I kept one for you, on purpose. So that when there's a character, there's another face. If there is, he's made war. Perfect, pretty. If there is, I like it. He's made war. It's a little too much. That's how you put it. It's good. I already have one like that, but not to that extent. Wow! What interests me is to show how the terrain is wavy. These are characters who move and who marry the relief, the shape of the terrain, of the pasture here. And we're going to make an installation like this one, with all these boys, in the Vallée de la Manche, up there. Just now. We'd like you to come and visit us. We'll come. Will you come with us if we make an installation this morning? I have a cow that just gave birth. I'm not sure I'll make it. If I make it, I'll come, but I'm not sure. All right. Bidon Sans Frontières wasn't born one morning. I didn't get up and say to myself, I'm going to line up 300 boys in nature. There was a gradual increase in power. When I had 15 boys in photography, I didn't know what I was going to do with those 15 boys. I didn't know that one day I would have 300. If someone asks me what I do, I say I'm a photographer. What do you photograph? Bottles. I'm a specialist in milk bottles. Do you have other gloves? Yes, you have to look in the car, in the bags. It may seem strange to you, but maybe afterwards you won't look at them the same way. When they're in their burrow, they're boys, they're bottles. But as soon as I take them out, they become characters. They're used to taking their space, their place. They're right in the middle of the road. They're not afraid. So they're right in the middle of the road. Put your arms on the side. And your eyes. Put your eyes like this. Like cyclops. That's it. And then we're going to do as if they were going up there. That's the first one. The problem is that we often have volunteers who are not able-bodied, who are there because they think they're participating in something quite playful, recreational, and who have a goal somewhere. Even if they don't fully master it, they feel that we're not doing this for nothing, that we're in a private site, that we're trying to value a territory. So these people make themselves available, but we can't abuse it. And I can't, when I do an installation, tell them, stop, that's not right, we stop everything, we pack up, we go further, and we start again. Ingeborg is a bit like a mother to all the boys. She's the main character in Bidons sans frontières. She's the one who chooses the boys, the bidons. She's the one who goes to the farms, who spots them. We simply said that at Bidons sans frontières, she was the casting director. That's it, that's where it starts. That's it, and then again. Finding the boys isn't always that easy. At first I thought 40, then 80, then 100, and he was going to stop. But 150 wasn't enough, so we had to go on for a while. And he promised me 400. In the end, he was going to stop. For a while, I thought that was enough. I think it's beautiful. Taking pictures with utensils like the boy's is quite original. You have to think about it. And the idea of putting a character, that's something I like, and I don't find it pejorative. Not at all. For me, it represents the path of milk. It's the path of milk. For me, it represents the path of milk. And that touches me a lot. The installation itself went well. The atmosphere was relaxed. In the end, everything went well in that direction. But in the rendering of the image, in the photographic rendering, we have a bad light. We didn't have a moment of grace today, that's true. The weather forecast says it's going to snow tonight. We're going to take the risk of leaving them here and hope that tomorrow morning, the conditions will be better. It could work, we'll see. Once, while walking, I discovered this charming little peasant who still speaks French quite well. You'll understand. How many are we going to look for? Normally, according to the phone, he prepared two. Ingeborg works voluntarily. It touches me that she supports Bidon Sans Frontieres as she does. From the beginning, she adhered to this idea. She said, let's go. Let's collect boys, boys, boys. And I knock on the door and I continue, Hello! And I work for the boy specialist photographer. Would you have any boys? Hello! Finally, we're here. Hello! Hello, sir. Thank you again for finding the boys. It's really nice. And above all, you've waited well. It's pretty. There's something marked on it. Can we take it out or is it dry? No, I want to wash it a little more quickly. A little more brush. It's good, thank you. To find boys, it's not always that easy. Sometimes they say, I have them, but I keep them. Or it's true, they sell them to me because they're damaged. But they don't want to let go. It's still a little heritage that we don't let go so quickly. The boys, I actually bought them all. And him behind. You hold it there. Take the other one. Ah yes, you want to do a little adventure. So that I can see the eyes. If that's good. Here we are good. And you have to make a little noise. To show that they are happy. It's the covers that make a lot of noise. But we can't let go. Are you okay with your arms? Yes, okay. It's not too much? No, no, it's okay. Thank you very much. So compared to our predictions from yesterday, we were lucky. We were lucky and curious to arrive here, which had about 5 to 10 centimeters of snow. And that it covered the cans. And that this snow didn't fall on the road. And that's a really special situation. This road, which is actually concrete, absorbed all day the heat and that it was able to withstand during the snowfall, preventing the snow from holding on to this concrete. I'm happy. But so is Boyo. It's a form of instant grace. There is certainly better. We can still go further. But this is something that was unexpected. It's a situation, since the several hundred installations that we have been able to do, which is new, which is unprecedented. I am a full-time self-taught photographer. My original job was as a teacher. I was a teacher of physical and sports education. An activity that I practiced very quickly for half a year to be able to switch and practice photography more. No, but it's a hell of a job. At the beginning, I was always working on photography. I was always working on photography. I was always working on communication, working on the website, planning postcards. Indeed, there was a whole organization to set up that was also motivating with my children, with my wife, with friends. But you also had to go against reprobation. People who told me, you're crazy, stop, what are you doing? So, when you don't necessarily have certainty, on the contrary, you doubt, and you have people in your circle who tell you, wait, you're crazy, what are you doing? Well, sometimes you have to have a little bit of conviction and still have... We don't know how to tell ourselves that there is something to do. So here's how I started this adventure of Bidon sans frontières with a work on anthropomorphism, that is to say, to list all the objects that have a more or less human face. It's quite easy as soon as we've spotted eyes, like here, for example. It's quite easy here, we often talk about a self-portrait with this piece which is simply used to hold the diamonds to be able to carve them on a wall. More recently, the clamp to tighten works in one direction, in the other, and it has a variable geometry, in the other, its expression is largely modified depending on the opening of the mouth. And then, still very contemporary, the one we use every day, the USB key, and in particular on this model. I don't advise everyone to start getting interested in this kind of thing because it becomes very easily a habit and we realize that we are surrounded by it and that there is one everywhere. The kitchen utensils, the tools, the outlets, we are surrounded by objects. Surrounded. And if we let ourselves be taken by this system, it actually becomes a problem that I extended through the Bidon. So I was able to abandon more or less anthropomorphism of the Bidon, the most sympathetic object that I have encountered in this whole collection. We are used to saying today that children don't know where the milk comes from, that they have the impression that it comes directly from the brick. In fact, it's a bit mysterious, but children with the Bidon de lait make the direct link and their bowl of cocoa, for example. Geneva is interesting because there is the international dimension. On the one hand, it is also a city that saw me make my first steps when I was little, especially just opposite the English garden, go horseback riding. So it is a form of dream that I realize here, to be under the jet of water. You see, all the people, they don't bother me. It makes all these little black spots with the little spots of Bidon, it's funny. It's a shame, it's that they have fun putting the blankets back on, they think they're doing well. The poor Bidon, they have their mouths open, they take a lot of water. Ah, the vertical jet of water is still better. Most of the time, the facilities work at will. And I had the opportunity to meet a Moroccan who organizes trekking in Marrakech. We actually launched the project to take the Bidon boys to the Sahara. And what interested me in the Sahara is that it was a raw landscape, it's a desert, it's not easy to put the Bidons there. In the meantime, the people I was with or who saw us here and there, once we had removed our Bidons from the dunes, they thought it was less good. And so did we. If I told myself I had found the right thing, I would be next to the plaque. I'm not tired of photographing Bidons, it's a specialty. Obviously, if it were Bidons individually in a studio I wouldn't stop. But personally, I don't want to stop.