This new series of very large formats is the continuity of an earlier one (8th landscape) where the artist interrogated, always under water, the notion of “impermanence”. “The Dark Side of Light” questions and pushes the boundaries of photography. There is no focal point, identifiable subject or depth of field… The artist works on a raw and impalpable material: the diffraction of light in water.

The photographic shot is realised using an underwater installation, to concentrate the light onto a plate of metal. The image is then numerically manipulated many times, in order to “immerge” into the heart of light and the numerical matrix of the image. The result is a residue, which the artist calls “digital-intra-light”.

The second element of the diptych, called “digital-intra-darkness” is an image resulting from a radical addition of black. This residue of the photographed image becomes an autonomous and raw entity, which emerges from the black and numerical magma: a sort of “anti-negative”.

In order to complete the photographic process, the artist, in partnership with Alice Tremblais, realises from the digital file a negative, which he develops on a traditional silver paper. This choice, beyond the technical aspect, plays on the ambiguity of the relationship between these different processes: the developing bath reveals the digital material.

These pictures are infinitely going back and forth between light and obscurity, between water and material. It is not about the process of the search for “beauty”, aestheticism or even the enhancement of the image, but rather a form of revelation through “destruction”. It is a revelation of the autonomy of light and water through the digital interpretation of the photographic device.

Sidney Regis’ photographs remind us of Thomas Ruff’s large color abstraction, and especially his ‘Substrat’ Series