Valentin Samarine started doing abstract painting in the 60s, and abstract photography in the 70s. He moved fairly easily from one to the other. It is in a perfectly logical sense: Valentin relies in both cases on a model of spontaneous creation, implemented in the post-war years in European painting, whether it is abstract expressionism (USA), action art (England) or tachism (France) .
Valentin Samarine methodically destroys, at all stages, the mechanistic function of the photographic process. In Leningrad, he had experimented and put a dose of unpredictability at the time of the shooting and during the development. In Paris, Valentin went from the negative to the process of revelation of the positive, by giving the “representation the maximum of possibilities for possible metamorphoses, without imposing anything on it, in particular with regard to the range of colors. the metatechnics of contact between the still invisible, floating or spinning jets, like sleds coming down from the mountain. ” (V. Samarine)