"The photographer seizes the real in front of him; I recompose it and stage it." Rather than a photographer, Yves Trémorin defines himself as a "visual artist". Since his beginnings he has never ceased to question the photographic medium, "to push it to its last entrenchments". His artistic radicalism appears from his first series, staging his partner Monique and his grandmother Ernestine, whom he went on photographing all her life. His approach rests on the postulate that distance to the subject contributes to the construction of the image, with, at the heart of the work, the notion of synecdoche (the detail speaks for the whole). Thus, as with his first nudes, the portraits of his grandmother are made of tight, frontal shots without artifice. "I use photography to shake the habit of looking at what is in front of us. The images are staged away from any contextual, spatial or temporal clue. I work the angles of the shot and the distance to the subject to bring it into a kind of abstraction. I started with those close to me to deal with the intimate, to magnify their lives and move toward the universal." Attracted to horses through childhood memories, he was invited by Le Champ des Impossibles and Christine Ollier to a residency in the Perche, which let him create a series exploring the relation between man and horse. Working with local breeders, he captured the magnificence of the horses and questioned their submission. The pictures express the duality between the profane and the sacred, and this notebook presents them in a specific format and layout, offering a coherent visual narrative. This immersion in a world from which man is excluded marks an important stage in his work, underlining his interest in animals and their wildness.