Since the 1980s, during his wanderings, Pascal Aimar has photographed moments of life in Bolivia, New York, Barcelona, India and Japan.
Returning to Paris in 1992, he became a still photographer for the cinema, then a cameraman and director for television. His work, guided by the pleasure of the snapshot, is built in the footsteps of his mentors W. Eugène Smith, Henri Cartier-Bresson, and Josef Koudelka.
Since the 1980s, during his wanderings, Pascal Aimar has photographed moments of life in Bolivia, New York, Barcelona, India and Japan.
Returning to Paris in 1992, he became a still photographer for the cinema, then a cameraman and director for television. His work, guided by the pleasure of the snapshot, is built in the footsteps of his mentors W. Eugène Smith, Henri Cartier-Bresson, and Josef Koudelka.
Starting in the 2000s, Pascal Aimar radically changed his photographic style. Through three series, "Car en sac," "Passantes," and "Foule," constructed on the same principle—portraits of strangers with a telephoto lens, in very tight frames—he formalized his research.
As close as possible to the gazes lost in the void and in the city, he continues to scrutinize the fragility of people in the immense solitude of the human mass.
Regularly published in the national press, Pascal Aimar has been a member of the Tendance Floue collective since 1996.
Some dates:
2006 Production of a documentary on the collective of photographers “Tendance Floue”.
2019 Winner of the 2018-2020 residency mission from the city of Clermont-Ferrand.
2020 Project Support Award at the Arles Photography Meetings for “Car en Sac”.
