Black and white portrait of Georges-Emmanuel Arnaud, glasses and black t-shirt.

I live and work in Le Vauclin, Martinique. This territory is at once my home, my research ground and my space for experimentation. It frames my work; it does not define it.

After learning photography in Paris, at the Lycée Brassaï, specialising in scientific photography, I spent nearly twenty years working with the great names of the image, in Paris and around the world: assistant and retoucher to Humberto da Silveira, four years in publishing with Robert Delpire, retoucher for Sarah Moon since 2007, and for Vogue Italia, Numéro, Dior Homme, Chanel Joaillerie or the Giorgio Armani campaigns.

Then I turned these tools towards what surrounds me: the heritage of the Caribbean, little documented but alive. Archaeological remains and traces of architecture, as much as gestures, dances, music and stories. Photography, 3D, scanning and motion capture are not ends in themselves: they are ways of observing, keeping, passing on and setting back in motion.

Today, I research: I archive Caribbean dance and music through motion capture, and I host artists in residence at 150 m d'altitude, which I host and curate. I create: sculpture, photography, retouching. I teach, from primary school to university. And I build the structures that make the work last, a non-profit, a studio, a capture service, so that the skills that exist here no longer have to leave.

This work is heading back out into the world. In 2026, I brought it to the Arctic Arts Summit in Umeå, on a panel about a touring network between Sápmi and the Caribbean, to MTL connecte in Montréal, with the international delegation, and to NAD. In 2025, I was an invited curator of Montréal Connect.

InstagramLinkedInEmailWhatsAppCV

Searching, sharing, archiving, starting again.

I look through the tool. Motion capture is a research tool: with Séquences Éphémères, it archives the dances, music and gestures of the Caribbean, where text falls short. The residency is a tool for hosting: at 150 m d'altitude, I invite artists, create with them, and act as their host and curator.

Not leaving spaces empty: empty of people, empty of science, empty of consciousness.

Speaking, to make another voice heard. And, among those who speak, listening to hear another meaning. At the Arctic Arts Summit, at MTL connecte, at NAD.

From what we keep to what we make disappear.

From haute couture to the making of remains. Twenty years retouching other people's images for fashion and luxury, up to the campaigns photographed by Sarah Moon: making the flaw disappear.

In my own images, I keep it: with Damage Unserene Glamour, film and Polaroid, grain, the accident you cannot replay.

And with Le Corps Monstrueux, bronze remains excavated from their mould. Photography as a link between the present and a past that never happened.

Exhibitions: Studio Lumina, Fondation Clément · Commissions: Vogue Italia, Numéro, Dior Homme, Valentino, Chanel Joaillerie

A gesture passes from one body to another.

The gestures we record fit in no text: they pass from one body to another. Archiving is not enough; someone has to take the gesture up again, and carry it further.

With Mocap Week, we teach motion capture, from primary school to university: workshops, technical training, live performances. Technology is not watched from afar: you step behind the screen, and into the suit.

With Archéologie Caraïbes, tangible heritage becomes something you can handle: photogrammetry, laser scanning, NIR scanning. What could only be looked at behind glass can now be turned, measured, shared.

Workshops · technical training · school outreach · heritage outreach

Building here what used to be made elsewhere.

An idea only lasts if a structure carries it. So I build, cultural or commercial, for profit or not, with one purpose: that the skills that exist here no longer have to leave.

ANISOTROPIE, the arts, sciences and technology non-profit, carries the research and the transmission. SOLIBO Studio offers motion capture as a service: body, hands, face, from the shoot to the file. Studio Karea, in Le Vauclin, is the place where people meet to work.

And Cariality Studios makes in Martinique what used to be made elsewhere: digital twins, real time, virtual reality, for clients and for our own titles, such as Detective Philibert, a mystery set in 1890s Martinique.

Studio Karea 2008 · ANISOTROPIE 2018 · CARIALITY 2021 · SOLIBO 2023

What I am starting, and what I still need to do it.

Some projects fit in no structure. I launch them, with partners in the Caribbean and elsewhere, and carry them until they stand on their own.

La Piscine: an empty pool to turn into a stage, to film, capture, project, rehearse. CFCDB: the trilingual directory of Caribbean film crews, to make visible a sector scattered across islands and languages. LŪMEN: a network to move works and artists, from Martinique to Sápmi.

And La Cantine du Studio: a fictional chef, real meals, every time I cook for the people working here. Because the work also happens at the table.

La Piscine is looking for support: a fundraiser is open

Email

Write to me

Open GmailMy mail app