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Fabrice Milochau, Born in 1967 in France, near Fontainebleau. Business studies and marketing consultant until the age of 30 years.
Weariness for this professional world dedicated to companies: questioning, desire to live more in harmony with its values. Decides to turn to nature and environment, becomes general environmental technician, then turned to journalism, working for magazines “Science & Nature” and “Wildlife”. Is satisfied that the aesthetic and scenic beauty work better than long speech for the defense and respect of nature. Passionate about photography, is committed in 1998 in a career as a freelance photographer: The forest is his first major subject (GEO will cover September 99). In the process, release of several books dedicated to nature. Today is a specialist in landscape photography, author of fifteen books on the natural heritage.

Fabrice Milochau is recognized as one of the best landscape photographers in Europe, and most of his specialty published in GEO Magazine France, over the past decade.

Since 2008, Fabrice Milochau began a new career : that of a visual artist full of surprising tenderness. He uses his great personal background picture to something else, a work that is a reflection on the meaning of image and graphic, photographic sculpture from raw material to rise to something else. His works are published on a glass plate in unique originals, limited editions or Plexiglas. His first work has its source in the Lofoten Islands which he fell in love ... It shows transparency, but also poetry and strength through a surprisingly modern approach.



from 2000 to 2011

GEO magazine reports :

About the forest of Fontainebleau
about the forest Brocéliande
about the Clarée valley.
File wonders of nature
about the Arrée hills
subject in France walking
about GEO-Russia Nature in France
about the Canary Islands
exclusive photographer of GEO calendar Special 25 years
about Rouen
about Lofoten islands

Lithuania report

Reports in other magazines: Alpes magazine, Figaro Magazine, L'Express, Alpine Recreation, Forests magazine,
Detours in France, VSD, the Dauphiné released, Corsican Earth, Savage Land, Trees and Forests


Technical topics of the magazine photo to: Photo Replies, Living with Birds, Digital Photo
Advertising campaign (National display + press) to: Department of the Seine & Marne, Chateau de Vaux le Vicomte, Corsica
Photographer for the TV group M6
Photographer of the Vaux le Vicomte castle and  Breteuil castle


Fontainebleau forest fantasy : Barbizon, Festival of Montier en Der, Fontainebleau, Clermont Ferrand, Art'evie gallery, Melun, festival of birds of Abbeville, St. Peter the Nemours
Clarée Valley: Festival of Montier en Der, Champagny la Vanoise
Chateau Landon: order of the city
Colors of loneliness: Festival of Montier en Der, Melun
Lofoten: order of the Embassy of Norway, in Montier en Der festival, Paris, book fair mountain of Passy

Contemporary Art:
the imagined forest : Clermont Ferrand
Various art pieces: Gallery Pinxit (Vichy), gallery Bagatelle (Fontainebleau), Art'evie Gallery (Lorrez le boccage)

Fontainebleau forest fantasy :

Most visited natural site in France, biosphere reserve, wilderness first officially protected by a Western nation, a royal forest, the mountains of Fontainebleau is a marvel of diversity.

40 frames, size 60x80cm, 40x50 + 20 frames
Photos size 40x60cm and 30x40cm

Clarée valley, a fall in paradise :

we do not imagine that this kind of place still exists, which is more in France ...
It is the mountain as in the old books speak.
"The greatest country in the world", spoke thus in an old lady, Emilie Carles, who spent most of his life

20 frames, size 60x80cm

Photos size 40x60cm

Colors of loneliness :

Nature has this extraordinary ability to soothe us and make us also face ourselves: our doubts, our remorse, our memories, the meaning of our life, our loneliness ...

and then the scenery sometimes come into resonance with our soul.
I give you my loneliness naked and bathed colors of time and life

exhibition: Twenty photographs, size 30x40 cm

- A concept image + sound: each photo is associated with a music that expresses the feeling, the emotion felt by the photographer ... the spread is provided by individual headphones (CD or mp3 ..).

- Loneliness is also expressed in how to confront each photograph: the viewer is "isolated" from other pictures and the public entering a "voting booth". A simple system of curtains or small indentations will be in place for each image to be seen by one person at a time, as the photographer was alone with the landscape looked ...

The goal is to get the public to feel the photographs, rather than simply looking at them. This is an approach that emphasizes the true nature of this support: more than a representation of reality, it is primarily a gateway between the photographer and the viewer, a communication.

Lofoten :

There is perhaps no place like this, a world apart, sheer, ripped and grandiose alpine landscape, with snow peaks umbrella on seabed cold and pure.
Only the Vikings, in this world sometimes apocalyptic, found here a welcoming

exhibition of 20 frames 60x80 cm,
pictures 40x60 cm.

The imagined forest :

When the consciousness of man awoke, she found that nature around her.
The forest has forged our first myths, our initial fears and our first gods.

This exhibition is a tribute to the evocative power and symbolism of forests.

 A journey into the heart of our own unconscious and dreams.

10 pieces large format (120x180)
+ 1 glass room 90x120
+ Optional: a dozen photos 30x45 + 60x80cm ten




My approach as a photographer 


A landscape tells us much more about our imagination that the configuration of a place through him to begin a journey within. Often I heard that my photographs were exotic, they reminded other latitudes other worlds. Instinctively, it's true, I always looked for elsewhere: mostly I see and feel almost everywhere. A sort of predisposition to forget where I am and what should myself familiar. I am always open to discovery.

For me, the bulk is not in the anticipation and his cohort of sightings, but in openness; the gaze touches, the symbiosis with the environment, the pleasure of being there, now matter more than my final project. I lead a quiet pace, attentive to every ray of light in each scene that presents itself to me. My photographs are not the result of my will, they are offered to me by nature, offered by chance. Nothing is safe. The lived moment takes over the guarantee of the result...


This approach is an inexhaustible source of emotions because it is rooted deeply in the moment, what is felt is the straightforward, unpretentious. The feelings are just more lively and sharp. They are born of a shadow, a breath, a perspective, it is no longer the words, geography or concepts that trigger our feelings as processes expected, but the simple truth of the senses.

Then I hope that what will be intensely lived intensely felt by the viewer. This exercise leads to a systematic change of scenery because I never try to illustrate what one expects to see; the region and its stereotypes are forgotten, the landscape I discovered no longer have any nationality. To view the other hand, must be nowhere.
Each of us has his own perception of the world through the filter of his sensations, his education, culture, photography is certainly a subjective act and creator. But also, and above all, an act of sharing; can share their joys and melancholy, like delivering his dreams or beliefs. This is the meaning of my photographs: an admiring contemplation of the subtle balance between heaven and earth, and an invitation activist, a passionate plea for the wild landscape I love so much. It is not simply to provide beautiful images, but to project the viewer into his own emotions, to show those moments and those specific details that create the mystery of mysteries appeal to our subconscious and our dreams fall into a reality contemporary. A different view of nature, a photographic eye certainly, but suggests that a second reading of these landscapes, as gateway to a forgotten world hidden deep within our unconscious, a realm conducive to extravagant all enchantments...

Photography is rarely seen as an art, especially color photography: it's so close to reality as we feel that it is simply reality. The black and white and colored gum that dimension is naturally different from reality, then we admit more readily it can be "art" and transcend the everyday. The color is a beautiful yet creative tool, it is a language in itself, a dream-maker as well as an emotional stimulant. Certainly, it decorates, she embellishes, it distracted on occasion, but also much more: the color goes beyond the form, she dresses, the model makes it active. This is a vibration. In some contexts, it bathes everything, even the air!



My approach as contemporary artist


The heart of my artistic process is based on our relationship to reality and truth visual seeing is believing, and our eyes are the keys to what we accept as true or fanciful, subjective or objective ...

In this area, a photograph taken a sacred character by its extreme acuity, it seems very powerful to show and demonstrate what is really. As a photographer, I had no other aim than to use photography to express my emotions and my way of loving the world. It is therefore an extremely subjective and personal expression. Photograph is constantly choose among the universe, what goes into our emotional or intellectual prism. As a painting or a sculpture, an image is a creation, and its apparent objectivity is an illusion. By what is shown, it is not what is but what a person has seen fit to provide us with all the technical and artistic choices available. We see through his eyes, a piece of the world and time, as it forces us to perceive it. Even worse, our own subjectivity we refer to references belonging only to us and we rebuild this first in a second subjectivity of ours ...

To demystify the illusion of photographic truth I chose to use my own photos as a raw material, crude and malleable as desired. I twist, I change the texture, grain, color, assembles them, separates them, rearrange them. I sculpt the illusion of reality to fit into a new reality fully creative, sometimes a mere abstraction. Through this process I want to materialize the work of each of our unconscious and rebuilding our mind makes each piece of "real". I seek to make visible the path of non-truth that we live permanently. Unlike most of the major visual arts are painting or sculpture, I do not leave the unformed: pigments, earth, metal, and all other raw materials of the artist are usually no initial form, with the exception of manufactured ... the recovery will be born informs the work or the masterpiece, and the designer will use a material, texture, colors that without his intervention, would remain without artistic value initial. The work takes out of nothingness and the banality of its materials.

My creations, they, depart voluntarily from a first shape generally acknowledged to be "beautiful" and that generates emotions: photographs of wild landscapes or urban, some portraits, while the result of a professional photographer that the public recognizes talented or as relevant as magazines, publishers will want to acquire and develop in their publications or galleries that wish to expose ... Using this first form, own illusion of reality in photographic media, I want to show that one can obtain as many other "real" we want the single prism of creativity and emotions projected. What I materialize in sculpting my own images, it is an allegory of what each spirit is not only with any photograph, but all of what we consider to be the reality of the world of form is born other forms. Everything that comes into our heads is mixed, filtered, reconstructed as I expressed in my artistic process. Of course, the form is mine, my creations are clearly positioned as the domain of "art", with any kind of codification, but the approach is universal.

Finally, I attempt to make palpable the notion of time inherent in any emotion and any photograph whose purpose is to fix things. All perceptions are part of a human temporality, successive times which are never identical. What is perceived differently now be the next minute. This is still an additional parameter which reinforces the extreme fragility of the concept of reality and objectivity, since these concepts are invariably associated with the idea of ​​permanence. Time changes all things of this world, and all reality is fixed by the same suspect. Time also sculpts. I address this factor by time-sequences of colors or distortions, but also by inclusions of voids or "noise" ...

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