摄影是我用来探索视觉艺术的知识工具。在寻找居住在我内心的难以捉摸的事物时，我游走于广阔的户外世界，在风景中完善我对形象的认识。

Photography is an instrument of knowledge that I direct towards the visual arts. In search of the elusive that inhabits me, I roam the world of the great outdoors to perfect my vision of the portrait in the landscape.

我的研究还关注于爱与梦想。我选择视觉诗歌：一种艺术仪式，旨在将诗歌作为摄影事件来构思。我的工作强调表达内在共鸣的诗意图像；唤醒想象话语的构图。我已经开发出一种创新方法，使我能够推广行为艺术和装置艺术。在COVID-19期间，由于无法接收模特参与我的项目，我继续进行摄影研究变得困难。后来，我想到了在计算机前安装一个风箱装置，将数字表现转换成湿版胶片。我希望重新审视之前的作品，并“重新置入语境”，重新诠释我的“最佳作品”。结果证明非常有趣，以至于我制作了一系列作品。通过这种方式，我将古老的工艺与今天的技术结合起来。我已经达到了生活中的一个阶段，需要回到过去的知识，以完善我当前的概念。在当今技术发展迅速的潮流中，我试图找到符合我的审美风格的速度。我记录时间而非瞬间。通过这种古老的媒介，我通过强调错误、意外、不完美以及模糊的质量来质疑图像的物质性。我感兴趣的是完全手工的技艺。总之，我致力于摄影，不是为了捕捉我所思考的，而是为了理解我所思考的。

My research focuses also on love and dreams. I opt for visual poetry: an artistic ceremony that aims at the conception of the poem as a photographic event. My work highlights poetic images that express inner resonances; compositions that awaken imaginative discourse. I have developed an inventive methodology that allows me to promote Performance Art and Installation. During COVID-19, it was difficult for me to continue my photographic research, since I would not receive models for my projects. I then had the idea of installing a bellows device in front of a computer to convert digital representations into wetplate collodion. I wanted to revisit previous productions and “recontextualize”, reinterpret my « best of ». The result turned out to be so interesting that I made a series. In this way, I have anchored ancient processes with the technology of today. I have reached a stage in my life where I have to go back to the knowledge of the past to refine my current concepts. Against the tide of today’s technological speed, I try to find a speed that fits my aesthetic style. I record times rather than moments. With this ancient medium, I question the materiality of the image by highlighting errors, accidents, imperfections and the qualities of vagueness. It is the fully manual know-how that interests me. In short, I dedicate myself to photography not to capture what I think, but to understand what I think.

弗朗西斯·奥肖内西出生于1980年，出生地为加拿大魁北克。拥有拉瓦尔大学视觉艺术学士学位（2003年），魁北克大学希库蒂米分校表演和装置专业硕士学位（2007年），以及魁北克大学蒙特利尔分校研究与艺术实践博士学位（Ph.D., 2016年）。在过去的20年中，发展出一种多产的艺术与理论方法，探索生命勇气的主题。他不断（重新）质疑的作品集表达了人类的爱、梦想、荒谬、神秘及对意义的追求。他的摄影作品通过在景观中布置肖像而展现力量。他的作品在15个国家的35多个个展和群展中展出。最著名的公众展示包括：2023年在Outremont画廊，2022年在Le Lieu当代艺术中心，2021年在拉瓦尔的Zoom Art，2013年在法国Saintes-Marie-aux-Mines的艺术与文化场所，2011年在拉脱维亚Alūksne的美术博物馆，以及2008年在哈瓦那的视觉艺术发展中心。他在2021年卢森堡艺术奖中获得第二名，并且他的作品在2013年法国阿尔萨斯的勇气国家奖中被选中。

Francis O’Shaughnessy was born in 1980 in Quebec (Canada). He has a Bachelor’s degree from Laval University in visual arts (2003), a master’s degree from the University of Quebec at Chicoutimi (2007) with a specialization in performance and installation and he is a Doctor (Ph.D.) in studies and arts practices from the University of Quebec in Montreal (2016) in creation. For 20 years, he has developed a prolific approach, both artistic and theoretical, in which he explores the theme of the audacity of life. His constantly (re)questioning body of work speaks about humans: their loves, their dreams, their nonsense, mystery and the quest for meaning. His photographic statements take on strength through the staging of portraits in the landscape. His work has been shown in more than 35 individual and group exhibitions in 15 countries. His most notable public presentations were seen at Outremont Gallery (2023), Le Lieu, centre en art actuel (2022), Zoom Art in Laval (2021), , Lieu d’Art et de Culture in Saintes-Marie-aux-Mines (France, 2013) , at the Alūksne Museum of Fine Arts in Latvija (Latvia, 2011) and at the Centro de Desarrollo de las Artes visuales in Havana (Cuba, 2008). He won 2nd place at the Luxembourg Art Prize (Luxembourg, 2021) and his works were selected for the National Prize for Audacity in Alsace (France, 2013).