This mograph includes Eric Maillet entire body of personal photographic work. Water and nature occupy a very important place in Maillet's work with water in all its forms; sw, ice, and bubbles. His images reduce nature to its simplest element allowing one to contemplate its unexpected aesthetic. The female body also holds an important place throughout his work and finds its harmony in Maillet's nature focused universe. Eric Maillet's work has always taken into consideration that an open book or magazine invites the reader to look at two images simultaneously. The distinctive quality of his work is the way two images answer to one ather- left page to right page, creating both harmony as well as an opposition; or simply a story that each person can imagine: the portrait of a horse lives beside the portrait of a woman; the traces of candle smoke on a glass take the shapes of a seaside landscape; a burned packet of cigarettes reflects the textures and the colours of dead leaves; water in a glass reproduces the shape of a nude woman lying down; a plate of black spaghetti cohabitates with an image of a woman with black, wet hair close to her face; lines of light define a face resembling the ripples of water; a leaf lying on ice has the same shapes and colors of woman's body covered in mousse; and a stream of water flowing from a tap resembles the shape of a naked woman's body.
Eric Maillet (born in 1957) discovered photography and the end of the 1970s. At the beginning it was simply hobby, but very quickly it became a need, a reason to live. A completely self- taught photographer, he cultivated a style influenced by the work of Brodovitch and Rodtchenko. In taking inspiration from painting, he quickly realised that the graphisme, the lines and the composition were a fundamental base in making an image perfect. He spent many weekends at the Louvre, studying the graphic architecture in all the great masterworks, but the paintings at the Prado Museum in Madrid demonstrating the mastery of clara obscura, is where he discovered light. Maillet admires the great reportage photography of Henri Cartier Bresson and Willy Ronis and it is through this perspective that he approaches his still-life work: a reporter exposing and describing what he sees in his everyday life. For the first time Eric Maillet's work is condensed into this monograph - never before seen in one book.