Šćit - On lake Rama (Hercegovačko-Neretvanski, Federation of Bosnia and Herzegovina), Bosnia and Herzegovina
Portés par le vent frais de ces derniers soirs d’été, nous avions suivi l’aléatoire de la route ; un cul-de-sac culturel nous avait mené au centre de cet îlot artificiel. Dans ce camp retranché placé à l’abri des regards, nous avions refait connaissance avec le silence intérieur, nous avions laissé les caprices du vent nous bercer, jouant des airs mélancoliques dans les plaies béantes que le béton entrouvrait. Le décor, quant à lui, se chargeait des oxydes de l’air ; la transformation du monde était constante, simplement elle n’était pas perceptible à l’oeil humain.
Carried by the fresh wind of these late summer evenings, we had followed the randomness of the road; a cultural cul-de-sac had brought us to the centre of this artificial island. In this entrenched camp placed away from the people’s sights, we had met with the inner silence again, we had left the whims of the wind rock us, playing melancholic tunes in the gaping wounds that the concrete was opening. The decor, on its end, was loading itself with the oxides of the air; the transformation of the world was constant, simply it was not perceptible to the human eye.
From inside cultures, people and countries, Léon wants to reflect the world as it is. With and without lines, Léon tries not to lie about what he sees and lets know what people express, and what landscapes tell. Photographic work processed with films (Ilford HP5, XP2, FP4, Pan 100 & Pan 50, Portra 800, 400 & 160, Velvia 100 & 50, Sensia 100, Ektar 100, APX 100, Fomapan 200, Tri-X 400, Rolleï 400, BW400CN & Superia 400) by Nikkormat FS, 1968 & Praktica MTL5, 1984.