Artist presentation
Grégoire Beraud
My academical background is in environmental sciences and finance
(Ecole Polytechnique, Princeton University). After my studies, I have
worked for over eight years as an investor in climate technologies and
sustainable infrastructure across the world. I took the decision three
years ago to become a professional photographer and commit entirely
to my creative practice. This dedication stems both from the conviction
that it would better convey my environmental stance and from my
willingness to come back to a simpler life scale, closer to nature and to
“otherness”.
I have practiced photography as an amateur ever since I was a teenager.
I am completely self-taught, but I have attended workshops and
followed online courses taught by inspiring photographers (A. Majoli, M.
Black, J. Bendiksen, M. Bogren). I recently completed a yearlong
mentorship program with photographers Caimi & Piccinni. I exhibited a
short series during Les Rencontres d’Arles in 2023 and had my work on
Ghana (New Gold) published for LOST Magazine. I have otherwise not
been published nor exhibited.

Artist statement
Kípatsi is the Matsigenka word for earth. For this native community,
earth has always been the Amazon and even though they now have
settled down, their relationship with nature remains their life’s matrix.
However, such a bond is today corrupted by civilization, and the once
pristine jungle has become a frontier area, the setting for their silent
fight against illegal activities as well as for the preservation of their
ecosystem. My work is constructed as a dialogue between the
Matsigenka’s conception of nature, its reality and my own interpretation
of it. I find and relay essential elements of the relationship between
Nature and Man with the intention to inspire the viewer to rethink their
own.
Nature is as much a narrator of the story as I am, hence turning towards
alternative practices that increase its materiality, be it in substance or
design. The imagineku prints (lit., images in her dreams), pictures
printed on paper pre-tinted with local natural pigments, are the
culmination of the process. Collected and prepared alongside the
Matsigenka, their variations and imperfections are a testament
of nature’s many characteristics and of the complex bond
the Matsigenka have with it.
Over several trips that covered most of the Matsigenka’s native
communities in Madre de Dios (Peru), I have shared their lives and
gotten a deeper understanding of their connection with the
environment. After a thorough process that included on-field interviews,
scientific research and accompanying NGOs, I realized that a purely
documentary focus was too limitative. Consequently I moved towards a
more conceptual conversation where abstraction and sensations would
better express the complexity of my subject. Fluctuating across both
space and time, the reality of what is nature and civilization in the
Amazon is not yet set in stone.