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MARGAUX ROY, 1990, FRANCE

YCS: Your work observes partial form, muted colour and ambiance, to express overlooked everyday detail. Meaning is applied unconsciously, often via later association. What key themes occupy you and why? How did you become aware of them?

MR: I started to take pictures very spontaneously. I didn't have a theme but my photos expressed beach, sun, fragments of lives, colors. I didn't know why. I keep taking these kind of photos. But I'm more aware of what I do, before and after the shooting. I try to be less naive than the past.

YCS: There is an intuitive aestheticism to your composition style. What role does conscious editing therefore have in your process? Would you outline how you produce an sequence? Why is the portrait orientation so dominant?

MR: Editing is very important for all photographers. For me, it's half of the work. It give directions of what you want to say. I started to take photos in the portrait orientation when I started to make videos, in the horizontal format. It was clearer in my mind, to think "okay, I am going to shoot a video, so use the horizontal format". I usually carry my camera outside. When I see something interesting, I take a picture. Back home, I select the pictures I prefer, and try to sort them in order to tell a story.

YCS: Of what part of you does photography provide fulfillment?

MR: I always share my time between personal work and professional work. I appreciate when people enjoy the personal work, which I do for myself. I made a very personal video named "J'ai pas de bande-son". It took me one year to show it to people, because I was afraid of reactions. Finally, a couple of people send me messages to tell me that they enjoyed the video. I didn't expect to that at all!

YCS: You achieved your photographic degree at Gobelins in 2012. Was it a straightforward decision to study photography? What impact has formal learning had on your work?

MR: No, it used to study economics for 2 years. It was a mistake! I always wanted to do photography but my parents thought that there weren't jobs in the art field. After two years following night classes in art and a lot of dinners talking to my parents, they finally were convinced and they let me progress onto a photography school. It obviously has had a big impact on my work. I learnt a lot of things, from using a camera (I used to shot in Automatic mode), to retouch with Photoshop. It also opens my mind to other style of photography. I am more accurate when I take a photo and when I see photos by others.

YCS: How do you envision the final presentation of your series? What draws you to this resolve over others?

MR: I will probably make small books one day. And I would like to print some of my photos as well. I am still in the thinking-process at this time so it's difficult to talk about it. Nevertheless, I write my ideas down in a notebook!

YCS: Your work is regularly featured online, having been published by Its Nice That, Paper Journal, and Dust Magazine. You've also achieved some commercial work with Mint Magazine and Pictoresq. Do you generate these opportunities yourself, and how? What benefits have they provided your career so far?

MR: I sometimes submit my work via email, when I think that it will suit the style of the webzine/brand. And people contact me as well, by finding my work on these kind of blogs. It's a bit early to say that I can live with photography at this time. I am currently travelling in Australia. I decided to spend one to two years abroad, to improve my English and discover other things than the Parisian life. I grew up in Paris, did my studies and I will probably work in this city. I wanted to live in an other place for a short period of time, even if I don't do things directly linked to the photography.

YCS: Moving image is increasingly prominent in your practice, with "I have no soundtrack" extending the observations of your photography to multiple layers. What does video offer your creativity that photography doesn't?

MR: The video process helps me to create a narrative, which is more difficult when I take photos. I am really interested in the sound process. Sometimes, I can convey emotion thanks to the movement of the subject and the sound. I don't want compare photo and video. They are different, you work on them differently, even if the image is the common thing.

YCS: How are you existing as a practitioner right now? How does photography feature in your salaried work? Has it proved challenging to establish a freelance career?

MR: As I said previously, I will spend from one to two years abroad. I don't think I am a good example at this time, but I have a lot of friends who work, in digital retouching companies, or assist photographers. So, yes, you can live with photography ! But, for most of people, I think you need time to become a freelance. Photography is not only taking pictures, it's also how to run a budget, how to be with a client, how to find location, models, how to print a book etc It takes time!

Image Copyright belongs to Margaux Roy.

www.margauxroy.com

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