Born in 1968, self-taught, but having taken courses in  professional photography in Paris in 2003, Benoit Sabourdy has always conducted experiments with film-based photography, whether before the arrival of the digital era in using special effects (filters, movement, focus) or from his very first steps in the darkroom, where he discovered that accidents sometimes result in interesting images.

Little by little, as his eye became attuned, he studied the history of photography and its various currents, discovering that he had invented nothing new, that essentially  everything had been done before.

He gradually distanced himself from conventional photography and the "fine print", while not losing the taste and respect that he has for it, feeling more in tune with the avant-garde photography of the twenties and the experimentalist movements of the sixties and eighties.  

Realising the need to employ unorthodox techniques in order to express his particular photographic vision, Benoit Sabourdy has resolutely adopted the technique that he likes to refer to as multi-exposure (due to its character of repeated exposure to sunlight) and has elaborated a project which seeks to question the nature of the photosensitive and its relation to memory and also the photographic act.

Based mainly in an urban setting, and exploiting the techniques of multiple exposure and superimposition, my photographic approach originates from experiments with photo-sensitive materials.

Indeed, what remains of the representation of the subject of a photograph after repeated exposure to light and a succession of shutter releases, of its association with time and place, and also of the movements of my body? A singular fragmentation.

This process of repetition with the camera has led me to develop a special way of thinking about photographic practice. There are also reflections on the history of photography that the camera obscura enables me to record. Lines and volumes appear, a "new reality" is created: images are born whose graphic quality is willingly mysterious...

This approach allows me to produce images which might well come from "another time" and which arise from a desire to not represent reality, or perhaps to represent it in a different way...

Starting from sequential geometries and unlikely associations of planes and frames, the final image pertains to dreams, to vestiges of moments and to the imagination; also to the memory of photosensitive materials. It is a means of expression which involves at one and the same time a  reference to the dimension of time in the preparation of an image, an imprint of the movement of my body, and the evolutionary process of interpreting this same image by he or she who is contemplating it.