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Présentation de l'artiste

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.

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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.

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