Fournet's work requires rigor with real physical availability because it consumes a lot
creative energy and memory from his computer.
The shoot is quite technical. Fournet determines a place and then a sometimes high viewing angle where he is stationed like a motionless anthropologist with his tripod. So he takes hundreds of shots for thirty or four
twenty ten minutes, in order to store the first material. The elements that interest him are moving. These are the clouds, the tide, the passers-by, the lights, the flowing time… Fournet works with a digital Hasselblad of 60 million pixels to capture as much detail as possible.
The second step is very creative. For several days or weeks, it constitutes a scene that never existed
in a single moment. He imagines the light, the skies, the position of passers-by, he bends time and thus encapsulates
more than an hour of life in a single photograph, without it being noticeable at first glance. But a good
observation allows you to discover that the same person is reproduced two or even three times in the photo and reveals thus its way.
Finally, comes the time for VIBRATION. it is a surge of spontaneous creative energy, which multiplies the layers on
Photoshop in a digital sculpture where Fournet cuts and glues millions of pixels. Almost crushed by
the hundreds of gigabytes accumulated, he puts his satisfied work on hold. Otherwise, he is forced to destroy all
the vibrations which do not bring him the expected pleasure and which consume too much memory of his computer to