There is no judgement in my work, no denunciation, I am in the statement (if critic there is, whether it is political or social, it does not belong to me and I leave it to the audience). This visual environment is my raw material and it is my graphic material.
My field work is a country where the landscape is shaped by and for mobility, it forms a sort of generic visual disorder throughout the territory, built around a repetitive principle: the separate house, the strip mall, the giant billboard, the industrial park, and the highway. Without moods, this world is in perpetual mutation that makes one city raises and another one does, and that let them coexist indifferently side by side. This visual chaos becomes unrecognizable to become an abstraction. This is where my favorite workplace is...my playground.
Regarding the treatment of my photos, I do not refute a form of aesthetics or even poetry while leaving a narrative part, free for the spectator to interpret the photo. My Mantra is simple: I like repetitions, I like series, and I like driving around.
What inspires me is the emptiness in the urban landscape or in the great American spaces. I like to play/'mix' two approaches: The codes of the new topographics and the concept of "in between-two states" inspired by the anthropologist Marc Auge under the name of non-places. I like transitional places, like intersections or passages from one world to another, such as from a residential area to an industrial area. I also like the tourist places altered by the human trace. We often find this feeling of emptiness, of visual paradox by travelling throughout the United States. The transition from one site to the next: You have arrived and at the same time you have never left. I believe that the expansion of the urban or industrial landscape in the American natural landscape has redefined this space and has become itself a "non-place."