One day we travelled to another country with a different culture, a fireplace smell and a religious way to say hello and goodbye.
We were welcomed in a house whose inhabitants didn’t speak our language. In the midst of the night, inside their dark kitchen, they were talking and their faces were lighted up by the bonfire. But their voices, altogether as another part of that kitchen, didn’t disturb the mountains’ silence.
My thing is the stories.
I like the stories that people tell in the fruit shop in front of my grandma’s place and the stories that I see when I travel and I take time to sit and observe, the ones written on people’s eyes or habits, on the holes on a church’s facade in Barcelona or on a light that is turned off, on a house next to a phare forgotten near the Breton ocean.
I like to hear stories as much as I like to tell them.
I’ve studied Advertising in Barcelona because I wanted to “decorate reality with words”. In order to make it more beautiful, funnier and more attractive.
Driven by the willing to make a difference in the world we live in, I specialized myself in communication for social change in London, where I realized, on the one hand, how media can be harmful and useless and, on the other hand, how it can empower things or people. There, I developed inclusive narrative, trained activist skills and learned how much I loved when creativity meets progressive change.
Nepal was my first big travel, which gave birth to my also first poetry book and my first exhibition called “We are #1”, Barcelona 2018, together with photographer Laetitia Daïdé. This one represents small moments of random people’s lives that crossed our way. There are compositions that talk about the mess on the streets of Katmandú or the difference and similarities in between the Nepalese inhabitants and me. But, as we get closer to the mountains and to the culture, the stories I tell they get more personal, intimate and current.
Thus, for me “Worlds Tellers” is personal, intimate and current stories of people of the world we had the chance to hear about, see or imagine and we have captured on verses or/and on pictures.
Moreover, it pretends to enlight different political and social realities through reportages which include pictures, interviews and our own experiences.
Self-taught French photographer, also a professional musician trained at the National Conservatory of Toulouse, Laetitia Daïdé started photography in 2016. She participates in many photographic events and occasionally writes for photographic releases. Her photographies have been exhibited recently in France and Spain (« What’s left ? », 2018 – France, “We are # 1”, 2017 – Barcelona).
She distinguished herself with the event “We are # 1” by proposing a complete work of artistic and journalistic restitution of her report in Nepal: nourished by journalistic photographs and reports, sound and musical installations, a video creation and a written work associated with a Catalan poet and author Gisela Sole Marron. A project is born from this collaboration (Worldtellers) always proposing complete journalistic and artistic reports; and has already won the support of some national and international partners (La Ferme du Colvert – Vietnam, Aeromarket – Barcelona, etc.).
« At every new photographie, I try to assume that everything is out of the ordinary; and because of this, nothing is. Keep a new and curious look on what surrounds me from the nearest to the furthest. That a smile and a lost sight, whatever the side of the world where I capture it, remains as free as possible, so that it can reinvent itself with every new reading. »
Her favorite fields are Cultures, Nature and all kind of Species. Always with a sensitive and attentive perspective to visual and intuitive spaces.
“I capture images escaped from the concrete world, details that evolve before my eyes and to which I give a bigger place. Reveal the tiny or the forgotten. I also wish to convey moments in their pure brutality, their essence, in order to evolve differently in our world, the eye nourished by new unusual perceptions, nevertheless so familiar.
Universal, I try that my photographies can be based on traditional and simple visual and symbolic codes, nourished by the most accessible materials that are: those that revolve around us. I am particularly interested in the connection between our rapid and systematic perceptions of the external world or of a moment X, and of what a bit of attention placed differently can reveal about this same moment, and in this same world. “