What is your background? Why were you interested in this project?
There are three main aspects to my work as a photographic artist. The first is my creative work, for which I produce series that are then exhibited and published. The second involves photographic commissions for public and private institutions. Finally, the third part of my work involves artist residencies and workshops in France and abroad.
The theme chosen for this project, ‘The Imagination of Memory’, and the area in which the creative narrative developed, resonate with my artistic approach and my local initiatives in the field of photography.
I was particularly interested in this project because of my attachment to the Bassin Minier, the Pas-de-Calais département and its inhabitants, and also because of my experience of this area, which I have been exploring and photographing for ten years now as part of various projects, both personal and institutional, working with numerous partners (ALL, Mission Bassin Minier, Euralens, Pas-de-Calais Tourisme, Louvre-Lens, DREAL, Ministry of Culture, etc.).
These collaborations have enabled me to gauge the extent of the Outstanding Universal Value of the Nord and Pas-de-Calais coalfield, as well as its revival and the tremendous momentum of cultural and tourist activities in the region, particularly in the Lens-Liévin conurbation.
The links I’ve forged and the experience I’ve gained from working on a number of projects have enabled me to grasp the dynamic of transformation and innovation running through this area, as well as the many issues linked to its intangible cultural heritage.
The mediation activities I’d like to see as part of the Storytooling project are also part of my work, and that’s why I was so enthusiastic about applying. For a number of years now, I’ve been running artistic and cultural workshops to make photography accessible to the widest possible audience. This educational aspect of my activities is at the heart of my work as a photographer and it’s very important to me. It allows me to promote my practice, through exchange and sharing, by opening doors to reflection and creation.
What results do you expect to get from the project?
The results will be manifold. There is, of course, the human aspect at the heart of this project, but there is also the creative dimension, which is part of a project thought out and designed with and for the young participants.
I hope that this project will open up new perspectives for the young participants as well as for our partners. I’m convinced of the importance of this kind of project, and I’m sure that we’ll achieve concrete and interesting results based on hands-on experience, a multidisciplinary and cross-sectoral approach, a strong sense of solidarity, and the promotion of post-industrial heritage.
What has the group’s experience been like here in France?
The group’s experience has been very positive. Right from the start of the project, I felt a real commitment and active participation on the part of the young people from the local mission in Lens-Liévin who signed up for the European Storytooling project.
The group got a bit smaller as the sessions went on. This was mainly due to the participants’ job search, which kept them away from the project. That said, I was lucky enough to have a group of 6 young people who were assiduous from the beginning to the end of the project. The discussions were rich and friendly. Everyone took part with a clear interest and a real commitment to seeing our project through.
And what did you like most about the project?
What I liked most was the collective and experimental dimension of the project, the fact that we were working together with several objectives and a precise framework, while being free to design the project. The values of sharing and cohesion were at the heart of the creation and our proposals.
What do you think the project and the activities you carried out brought to the area?
The activities I carried out essentially affected the young participants by enabling them to design and carry out a project, while tackling the notion of post-industrial heritage and acquiring expertise in photographic creation and project management. Our contribution to the region was the organisation of the first photography marathon in Lens. It took us several months to prepare and the result was very positive. The participants enjoyed photographing the town of Lens and were able to discover some of its heritage.
What do you think of the methodology proposed by the Storytooling project to help young people take ownership of their heritage?
I wouldn’t change much. There’s always an element of experimentation in this type of project, so you can never be sure of the end result. The most important thing is the motivation of the group and the co-creation of the project. The project has to be as precise as possible, while remaining open to change. If I had to change anything, it would perhaps be to have more workshop sessions, even though these were at the heart of our project. The fun aspect is also important. I think we’re on the right track!
Is this something you’d like to do again?
Yes, of course, I’d love to do it again!
From your point of view as a creative professional, what improvements would you recommend?
My suggestions would be more of a logistical nature upstream of the project, in terms of choosing the right participants, the length of the project and the spacing between sessions.
For me, this is the most important point if the project is to make sense and meet the expectations of the participants and all the employees. Motivation and commitment are essential!
For my part, I was lucky. I can only salute my group’s commitment, creativity and sense of sharing. I’d also like to highlight the involvement and support of the partners.
It is of course important to ensure that the artists selected are experienced, committed and available to supervise this type of project.
I would also recommend making sure that the projects are not too ambitious and can be completed on time. It’s not a question of scaling down ambitions, but rather of measuring all the contingencies in order to highlight the expected objectives.
