ABOUT

Born on a Friday in1981, somewhere in France...

  Julie Badin by Gilles Badin, 1986. © Gilles Badin

 Julie Badin by Gilles Badin, 1986. © Gilles Badin

"The more I grow old, the more I doubt, but this doubt takes a different name, it becomes truth."

 

 

"I've always been curious. When I was a little girl, I used to draw and color every day, sing and listen to music for hours, explore the family garden and know every part of it. Beyond that, having lived through a difficult childhood and grown up with incomprehension, I had to conquer my freedom and find my answers. At the age of 20, I left everything behind to be an intern photographer for a cultural association in Camargue (France). Later, I studied Arts at University and professional photography in a private international school in Paris, where I learned more about the technical aspects of photography.

 

 Self portrait with Godard, 2010. © Julie Badin

Self portrait with Godard, 2010. © Julie Badin

My work looks at Life, Death, Belief, Representation and Intimacy in the slim gap between Consciousness and Unconsciousness. I am mainly inspired by my own experiences, and beyond, by psychology, philosophy, religion, photography, music, painting and cinema. My masters are Michelangelo Merisi da Caravaggio and Pier Paolo Pasolini. I especially admire Caravaggio's masterpiece untitled "Death of the Virgin" (1606), an oil painting representing the perfect translation of my perception of duality, and also Pasolini's book and movie called "Teorema" (1968), a reference on morality and the unexpected side of life, in which a central character gives an opportunity to each member of a family to reveal themselves. Centrality is a foundation of my work, it is about being here, to myself, and being here, into the world. It's an indestructible relationship which I define as a fundamental force between Inside and Outside. Inside focuses on how I explore interiority and Outside deals more with what is surrounding me. These two worlds interact and communicate with each others, they share an intrinsic link that could be defined as a perpetual conversation.

 

My work is fickle, It's not based on one kind of esthetical style or technic, it reflects the complexity of who I am and how I evolve. What interests me is constantly aiming simplicity and strength. These last years, I feel the need to explore and find openness through drawing and photography. My last ongoing project, Over the sea, launches a new direction, with portraits of unknown persons posing on seascape. Also, I decided to develop my series of drawings based on distorted illustrations of Saints. Christian iconography is a key in my work. I really began to learn Arts and History of Arts at University through the study of Renaissance period in France, Italy, Spain and Germany. This iconography inspired me to work on the correlation between truth and simulacrum through strong and recognizable symbols. I am not a believer but I still struggle about my responsability regarding my personnal choices, toward moral and pure instinct, what I think and what I see, what defines the known and the unknown. Belief is a truth that is not true for everyone.

 

I am constantly looking around and searching for clues and details; it's a real obsession. Consequently, the camera became the extension of my eyes in which I found one of the best way to be true. I am clearly attached to the Real, the camera drives me to focus on reality, materiality and time, to catch and create Presence, like in a deep and long meditation. I build my pictures as icons, I want them to incarnate the simplicity of a symbol, a subtile intertwinning of the signifier and the signified. Consequently, most of my photos don't give much information about space and time. The photographic experience exists beyond space and time; it creates a space and a time in itself. Photography is silent, and its silence is a promise of infinite meanings..."

 

A PROPOS / CV