French Author and performer of four albums of songs, Thibaut Derien has now swapped the music and words for silence and image. After ten years dedicated to the music, he fully returns to his first passion, photography. His series «I live in a ghost town» has also emerged during his tours. He lives and works in his ghost town. Mains awards and exhibitions :

Les Boutographies / Montpellier (Public Award) 2012

Paris Photo Le Grand Palais (SFR young talent Award) 2013

Little Big Galerie / Paris (solo exhibition) 2014

Galerie du Curé / Luxembourg (solo exhibition) 2015

Pulvertum / Frankfurt (solo exhibition) 201

Thibaut Derien began to travel France a decade ago, deliberately avoiding major roads and outputs bordered by kilometers of garish signs, bland prefabricated buildings, uniform housing estates and head-spining roundabouts, that years of careless urban policies have emerged as the new aesthetic standards of suburban areas. He was looking for the few small shops still standing around but abandoned, witnesses of an era, a trade, a taste of fashion. Small shops deserted, left to the vagaries of time. He has carefully selected among the many found on his way for the special emotion that emanated from them. They inspired him this ghost town watching helplessly entertaining impersonal shopping centers , there in the distance. Not so far. These small shops populate Thibaut Derien’s ghost town, forming a cemetery, full of traces, remnants of a bygone era, swept by the industries, franchises and customers indifference bewitched by the sirens of mass consumption and temples of metal and cinder blocks. In this shops cemetery, the curtains are down, drawn, sealed doors, bricked windows. Storefronts suffocate within a strict framework, square, overshadowing everything else. Walker Evans and Eugène Atget, before him, had immortalized small businesses facing extinction with frontality. But Derien’s frontality is more extreme, cutting shops in their sole façade, excluding any depth of field, destroying the volumes likely to revive the bloodless ruins and silencing what made the particularity of these shops proximity: the social bond. A pure frontality that blocks the view of the spectator and makes him feel violently the end. So we are surprised to think that after all these small shops are perhaps an illusion, film sets that painted facades would be supported by simple scaffolding. As if we would prefer to believe that it was just a dream. The optimistics ones would let their imagination wander. As the images keep the minimum frontal information, they also give a generic value and a kind of virginity to shops: thousands of stories could be written behind these desolate facades. Forgotten the anxiety of the end and the empty, we are nevertheless charmed by the beauty of the lines, the words, the materials, the typographies, the openings and closings, the shapes and colors of all these shops. And from these empty, orphan windows, suddenly emerge emotion and even more, a certain vitality which should come from the past, one that surprises our imagination to invent. Thibaut Derien belongs to a family of photographers who make documentary photography an art, the triviality of everyday life, a poem, and notice with alarm the changes in our society , its contemporary ugliness and its past splendor. His ghost town reveals the ruins of a society that no longer exists, forces us to face our responsibilities and reveals both the beauty that emerges from its rubble.

ティボーDerienは故意に不注意な都市政策の年の新しい美的基準として浮上していることを、主要な道路や派手な看板のキロ、当たり障りのないプレハブの建物、均一な住宅団地とヘッド-spiningのロータリーに囲ま出力を避け、一昔前フランスを旅行し始めました郊外。

彼はまだ、時代、貿易、ファッションの味の証人を突っ立ったが放棄されたいくつかの小さなお店を探していました。小さなお店は、見捨て時間の気まぐれに委ね。彼は慎重に彼らから放っ特別な感情のために彼の方法で見られる多くの中から選択しています。彼らは、そこまでの距離で、彼にどうしようもなく面白い人間味のショッピングセンターを見て、このゴーストタウンに影響を与えました。遠くはありません。

これらの小さな店は、トレースの完全な墓地を、形成、ティボーDerienのゴーストタウンを移入、産業、フランチャイズや顧客によって掃引過ぎ去った時代の名残は、大量消費のサイレンや金属や噴石ブロックの寺院によって魅惑無関心。このお店の墓地では、カーテンは、ドローダウン、密封されたドア、レンガウィンドウです。洗面設備は、他のすべてをovershadowing、厳格な枠組みの中で正方形の窒息します。ウォーカー・エヴァンスとウジェーヌ・アジェは、彼の前に、正面性と絶滅に直面して中小企業を不死化していました。社会的な結合：しかしDerienの正面性は、フィールドの任意の深さを除く、彼らの唯一のファサードにお店を切断無血遺跡を復活する可能性が高いボリュームを破壊し、これらの店の近接の特殊性を作ったものサイレンシング、より極端です。

彼は激しく終わりを感じさせるブロック観客のビューを、純粋な正面性。だから我々は、これらすべての小さなお店は、おそらく錯覚された後、ファサードを描いたフィルムセットが簡単な足場によってサポートされるだろうと考えるのは驚いています。かのように我々はそれがただの夢だったことを信じることを好むだろう。 optimisticsのものは、自分の想像力のふらつきを聞かせ。画像は最小正面情報を保持するように、彼らはまた、一般的な値やショップへの処女のようなものを与える：物語の何千ものこれらの荒涼としたファサードの後ろに書くことができます。

最後の不安や空を忘れました、我々はそれにもかかわらず、これらのすべてのお店の行数、単語、材料、タイポグラフィー、開口部や閉鎖、形や色の美しさに魅了されています。そして、これらの空、孤児の窓から、突然、感情、さらに、発明する私たちの想像力を驚きの過去、1から来るべき特定の活力をemerge。

ティボーDerienは、ドキュメンタリー写真芸術、日常生活のつまらない、詩、およびアラームに私たちの社会の変化、その現代的な醜さとその過去の素晴らしさに気づく作る写真家のファミリーに属します。彼のゴーストタウンは、もはや存在しない社会の遺跡を明らかに当社の責任に直面する私たちを強制し、その瓦礫から出てくる美しさの両方を明らかにする。

Thibaut Derien began to travel France a decade ago, deliberately avoiding major roads and outputs bordered by kilometers of garish signs, bland prefabricated buildings, uniform housing estates and head-spining roundabouts, that years of careless urban policies have emerged as the new aesthetic standards of suburban areas.
He was looking for the few small shops still standing around but abandoned, witnesses of an era, a trade, a taste of fashion. Small shops deserted, left to the vagaries of time. He has carefully selected among the many found on his way for the special emotion that emanated from them. They inspired him this ghost town watching helplessly entertaining impersonal shopping centers , there in the distance. Not so far.
These small shops populate Thibaut Derien’s ghost town, forming a cemetery, full of traces, remnants of a bygone era, swept by the industries, franchises and customers indifference bewitched by the sirens of mass consumption and temples of metal and cinder blocks. In this shops cemetery, the curtains are down, drawn, sealed doors, bricked windows. Storefronts suffocate within a strict framework, square, overshadowing everything else. Walker Evans and Eugène Atget, before him, had immortalized small businesses facing extinction with frontality. But Derien’s frontality is more extreme, cutting shops in their sole façade, excluding any depth of field, destroying the volumes likely to revive the bloodless ruins and silencing what made the particularity of these shops proximity: the social bond.
A pure frontality that blocks the view of the spectator and makes him feel violently the end. So we are surprised to think that after all these small shops are perhaps an illusion, film sets that painted facades would be supported by simple scaffolding. As if we would prefer to believe that it was just a dream. The optimistics ones would let their imagination wander. As the images keep the minimum frontal information, they also give a generic value and a kind of virginity to shops: thousands of stories could be written behind these desolate facades.
Forgotten the anxiety of the end and the empty, we are nevertheless charmed by the beauty of the lines, the words, the materials, the typographies, the openings and closings, the shapes and colors of all these shops. And from these empty, orphan windows, suddenly emerge emotion and even more, a certain vitality which should come from the past, one that surprises our imagination to invent.

Thibaut Derien belongs to a family of photographers who make documentary photography an art, the triviality of everyday life, a poem, and notice with alarm the changes in our society , its contemporary ugliness and its past splendor. His ghost town reveals the ruins of a society that no longer exists, forces us to face our responsibilities and reveals both the beauty that emerges from its rubble.