Obviously Laurent Robillard's photos disturb. By revisiting the still life, he obliges the spectator to face the most mysterious of his fates. His carcasses staged in an esthetic light confront the horror with the beauty.
In his young years, Laurent Robillard intended himself for an artistic career. He painted, " in a expressionist register, rather violent, characters, women especially, hysteric, libidinales and deformed. I was also in a mystic search where I reconstructed modules-sculptures which would have been at the origin of the terrest life " and photographed " the movement, the brilliant fate, these events of the everyday life which owed only the time of the photography and which exist only by her. ". But the life decided on it otherwise and it is in the education that he made his career. Of this period, he kept only a painting; the rest having been destroyed by his care. Leaving voluntarily the world of the plastic creation, he dedicates himself to the martial arts and leaves through them to the search of " the perfect movement and to its expression. "Become a head of family, nothing seemed to spread him from the new road that he had chosen. But three years ago, his wife dies by the roadside mown by a reckless driver. " I got closer to the art so quickly as I had been able to go away from it, I painted to evacuate brutally what there was of more black, I photographed my circle of acquaintances to reconstruct the new space in which I would have to live henceforth, I reconquerred the outside space in search of these details which jump only with the eyes of those who have the sensibility aggravated by the strength of the life. The photo was for me the means to look what existed all around. I thus work on a style of hypersensitive and not informative photo. My purpose is not to photocopy the reality but to return looking at it in my virtual neutrality so that this one that interprets my glance. ". It is in this period that he begins to be interested in the body of animals which sprinkle at the edges of roads and railroads. The various stages of the decomposition fascinate him. " I contented with keeping the image, with staging them by the centring the simple report of the roughest death by an exact transcription via the photography ". Subjected by the bodies which the life left, he decides to go farther by putting them himself in stage, at home. " I began to use the chicken, the only animal body which we can buy in its entirety in the shops, because the chicken looks like the man in its epidermic nudity. I thus use it as a sculptural material, a vector of my sensibility. When I place a small head sculptured in place of that of the animal I stage it to represent the price of the human suffering, the psychological suffering ; ff the sacred physical suffering when the images remind a crucifixion, of the mystic and ecstatic suffering, in the style of certain Amerindian peoples (the dance of the sun), when I hang on it with fishhooks, of its simple state of festive dead animal when I embellish it of festoons at the time of Christmas. I begin a series when several elements meet: the animal, the objects of reference to the suffering, the fishhook, the cables, the crowbars, etc. ". The sight of his works has something disturbing, but it is in a full consciousness that Laurent Robillard presents his work: " There is no sense in my embellishes with images but an axis of construction for the one who looks at it . The " chicken " can be seen have crucified, tortured, impaled ... It is however only this original corpse bought in hypermarket and which never any glance is concerned otherwise than at the moment of its tasting. I give it a moment of eternity by reminding to the spectator that the bird can look like the human being and that the human being goes to see through him a part of his own existence. The death through the represented suffering is going to move closer to these two beings. "