Gérard Staron

Gerard was born in 1962 in Algier, growing up surrounded by the works of his great-uncle Henry Caillet, a painter of the beginning of the 20th century, who embraced the cubist movement.

In his 30’s and on the occasion of a journey to Mali, he borrowed his father’s Polaroid camera, to be able to leave photographs to the children of the schools of the Dogon country. Gerard never gave the Polaroid camera back.

Eventually his job as information systems manager took more and more time, abandoning little by little the medium of photography.

At the end of 2013, he decided to return to full time photography, taking part in numerous Festivals and exhibitions from 2014 to 2017.

Gerard works on notions of time, and its linear passage, forgotten memories, nostalgia, a sensation of no return and the feeling that our existence will be very brief. Adding to this feeling, I Gerard has the fear that our world will quickly become ruined if we don’t react soon.


Sea – bathing – On the beach Series

This series, carried out from 2013 to 2017, bears witness to a distant time when the sea was barely accessible and was dreaming, a still relatively virgin coastline, a seaside described in light and reflections by the Impressionists. 

Sea bathing questions the memory and the shift to reality. Our memories of this period are made up of images brought back by the painters, thus interpreted in the background and in the form. 

So I chose a medium that by its rendering acts on perception like painting: Polaroid, by its total absence of sharpness, by the diffusion of colors provides the same impressions as painting. 

The Polaroid is already an ancient device in our memory and is therefore associated with the past, and therefore participates in hanging up these recent images to an imaginary of the past. 

In the last images of the series (Let the show begin!), I wanted to accentuate the gap with reality by staging elements, that do not exist in reality. 

NB: This is not an attempt to join the late current of Pictorialists, who denied the particularity of the photographic medium and added to the process of manual acts supposed to restore a status of work to an industrial process. On the contrary, it is here the particularity of the medium that gives meaning to the image.