Pascal’s work is based on humanism, with references to Edward S. Curtis, Robert Frank, Willy Ronis, and Robert Doisneau. He chooses a site for his work with the intuition that something is going to happen there, then he comes and goes, in constant movement, trying to anticipate the event.
He gives special importance to the gaze: the furtive expression of a mood, the exteriorization of an inner world, the projection of a sensitive private feeling, like an attitude that can be choreographed: “The gaze is a lighthouse that traces my outlines and that I pursue.” He is also interested in the spontaneity of children, their ways of playing with time and space, with their images of themselves, inventing stories and territories, believing in their own universes.
Pascal does not consider himself a technician. His work is neither complex nor sophisticated. He does not seek composition for its own sake, but rather the instantaneous character of a sincere expression. What interests him more and more is getting up close to his subject, extracting a moment from a situation, distilling it, making it sublime, twisting the vision of reality so that the image seems to belong to another dimension, often a dreamlike one. What matters to him is intensity of the emotional relationship between his image and the viewer, the way it turns back on itself, against the viewer’s own feelings, history, inner dimension. “I don’t really care that an image is not technically perfect; life isn’t either.”