Cyril Delettre participates to the development of conceptual photography when pursuing the works of Stephen Shore and Lewis Baltz.

Convergences are to be found in his formal and aesthetic compositional patterns as well as in the content he fixes on, which Delettre subjects to a highly critical analysis, without however losing sight of essentials.

Delettre’s photo series document the side effects of modern civilisation, focusing on places that lie outside the bounds of canonical reception: urban wastelands, abandoned industrial sites, warehouses.

His photographs uncover the correspondences between spatial forms that occur in the everyday world and the advanced forms found in art. Delettre’s strategies imply a reflexive knowledge of the history of photography in that they deploy the photographer as a teacher of seeing who makes things visible through reductive gestures.

Delettre manages in his work to extend the notion of the documentary photography, in a minimalist-style aesthetic.

Delettre minimalist and reduced image compositions explore the photographic style as a process.

Delettre chooses to work after midnight when the city is abandoned and the electric lights redesign the perspective and new forms appears.