Architecture and photography share a complex and reciprocal relationship. In its etymological sense, photography writes with light, while "architecture is the learned, correct, and magnificent play of volumes assembled under light" (Le Corbusier). Architecture participates in the formation of the primitive unconscious of an individual's spatial culture, particularly that of a photographer, and thus contributes to their perception.

Pierre Bourdieu states that "we commonly agree that photography is the model of truth and objectivity (...); in fact, photography captures an aspect of reality which is never anything but the result of an arbitrary selection, and therefore, of a transcription: among all the qualities of the object, only the visual qualities which are given in the moment and from a single point of view are retained."

Photography, by simultaneously distinguishing and combining the most subjective (the photographer's unique genius) and the most objective (the recording by the camera lens), is undoubtedly best suited to help us grasp how the gaze is constructed, this link between subject and object. Reality is reducible neither to objective reality nor solely to the subjective representations we make of it. Reality is constituted, over time and in terms of space, in a perpetual back-and-forth between subject and object: a trajectory expressed in culturally and historically distinct configurations (Berque).

I am fascinated by the urban landscape.
I strive for a stripped-down expression, both descriptive and abstract, focusing on the minimal components of the interplay of lines, surfaces, materials, atmospheres, colors, and their combinations, in order to decipher their structures and patterns.
Most of my photographs are uninhabited to avoid the anecdotal role of people.

This reframing, this arbitrary cropping (often with off-screen sections) or re-presentation (a particular presentation from a certain angle, with a certain light…), contributes both to the (re)construction (with interferences and strong feedback loops between the photographed object and the photographer) and to the interpretation (the complexity of the representations of the world's physical reality). This fragmented vision of the urban whole, selected by my gaze, can open onto a multiplicity of urban landscapes: for the same materiality, several representations are possible.

This contemplative distance allows us to read urban spatial forms within an expanded temporal dimension: both the result of past urban sedimentation and the field of possible future urban developments, within a subjective gaze that constructs the urban landscape.

Architectural or urban forms, atmospheres, and materials evoke imaginaries and call for images where the pervasiveness of human symbols shines through.

This work aims to extract the imaginary or mythical dimensions of the urban landscape: to open the viewer's eyes through the language of places. It seeks to create a city of symbols, making possible another poetic and mystical spatiality (Certeau). To construct "the setting for a daily mythology, a space of memory" (Ralph Eugene Meatyard).