Valérian Mazataud
in Paspébiac


La fin de la Terre
(The Ends of the Earth)

Centre culturel de Paspébiac | 7 Boulevard Gérard-D.-Levesque Est | Paspébiac
Schedule to be announced

Valérian Mazataud, Montréal, Québec | |

Valerian Mazataud is a freelance documentary photographer based in Montreal whose work has a strong focus on immigration and natural resources.

A self-taught photographer since 2009, he holds an MSc in agronomy with a specialty in marine biology. He has worked on projects in the Middle East, Africa, and Latin America.

He is represented by Studio Hans Lucas in France. His pictures have been published in Le Monde, der Spiegel, Le point, Telerama and Liberation. He has also contributed to TV5, Radio-Canada, Le Devoir, La Presse, The Walrus, Nouveau Projet, Chatelaine, Oxfam and Handicap International.

Valérian Mazataud has won awards and grants in photography and journalism, in Canada and abroad. His pictures have been exhibited during the Voies-Off festival in Arles, Contact festival in Toronto, Art souterrain in Montreal, and Zoom in Saguenay, Québec, as well as in galleries and artist-run centers in Montreal.

He has worked as a marine biologist, a scuba-diving instructor, a science educator and a clown. He also cycled 21,000 kilometers around the world and over the five continents between 2002 and 2004.


La fin de la Terre
(The Ends of the Earth)

The body of work The Ends of the Earth explores the issues of immigration through pictures of Canadian citizenship ceremonies.

The title of the project is inspired by the biblical passage underlying the motto of Canada, “He shall have dominion also from sea to sea, and from the river unto the ends of the earth.” With 21 percent of her population born abroad, Canada is, after Saudi Arabia (28 percent), the country that proportionally welcomes the most immigrants. In 2014, 235,000 permanent residents took the oath of citizenship (close to 650 a day).

“I am shooting ceremonies throughout the country, equipped with an old analog DV video camera. This ‘family cam-recorder,’ the type my uncles would use in the 90’s, seemed like an appropriate tool to film this moment, reminiscent of life and ritualistic family stepping stones such as weddings, birthdays or communions.

“I then use a DSLR to take stills of a TV screen, which produces cold and intriguing images, reminiscent of a cult. The aim is to translate the double experience lived through that ceremony: the personal story of the migrants, and the distant and pragmatic eye of the immigration institution.”

Valérian Mazataud