While everything around him is speeding up, Bellec takes the time, the time to listen to his intuition and to look at the streets, the cities, the countries he roams. He waits, listens, hums and his pupils capture fragments, splinters, chosen pieces. He compiles the images, organizes them, orders them and then instinctively superimposes them in layers that merge to better reveal the scenes of his imagination. Through photographic associations, Bellec guides us towards «macro-narrations». The memories of childhood also nourish the inspiration of Bellec
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This is the case of his first musical emotion at the age of 6 when his father made him listen to Beethoven’s «Sonata in the moonlight» which revealed to him his attraction for harmony. It was also by confronting in his childlike thought the frightening vertigo of death with the precepts that the Jesuits had taught him that made him firmly reject any hold of the religious. A recent trip to Burma reconciled him with the quest for meaning about human existence.
It is the peaceful and serene beauty of the representations of the divinities of the Buddhist temples that opened the way for him to spirituality where suffering and sin did not give the tempo as in the representations of the sacred Catholic. Thus, through the effect of transparency, he intertwines the city and nature, the dazzling and subdued, the physical and the immaterial, the human and the divine. Built on the perfect balance of the number 3, the construction of the photos in this series borrows from the shape of the religious triptychs and the rhythm of the three movements of a sonata.
It opens on «altarpieces» as images born from the resonance between sound emotion and poetic vision.