My life as an artist is an extension of an extraordinary childhood. So extraordinary that as an adult I have found it difficult to maintain the level of creativity in day-to-day life that my parents afforded me as a child. My father, Michel Chabiland was an inventor and my mother Danielle Chabiland, his accomplice. My two sisters and I grew up literally following in their footsteps, evolving as people through the evolution of their projects.
At 18 I moved to New York and spend the first year preparing a portfolio to apply to the International Center of Photography. I presented an abstract series of geometrical composition based on New York‘s skyline. I did it as pure exercise, but it soon became the foundation for a wider concept in tracking vanishing points beyond the surface in search of another dimension.  At  I.C.P. I applied this discipline to portraiture, using models as the base material for a photographic exploration of the other side of the individual in search of the universal. Such a quest needs time. By the end of the process it yielded a series of only five portraits for the final exhibit. But the process has continued to evolve ever since.
Researching new techniques, I rapidly moved away from traditional analogue photography. From 1988 till 1992 I did a series of 22 black on black portraits printed on linen.  At the time Jean-Claude Lemagny was the director of Photography department of the French library, when I showed him the series in progress he told me that to his  knowledge were three artists working on black on black and that photography had reach a point a point were it had to come out. It was really exciting to be in such a innovating journey. The series was presented first at the Southeast Museum of Photography in Florida then at Photographer's Gallery in London.
In 1997 after a year of research, building a bridge between Silk-screening and photography it led me to develop positive X-rays through a series of portraits, nudes and metaphysical landscapes and I have been working with X-rays ever since.
This year in hommage to Man Ray, I started making triptych Rayogramms directly on X-ray films. The transparency of the support allows me to  push the concept two steps further,  I print  a negatif of an object first then print a positive from it and the last step is the mix of both, an analogue umboss effect.
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