Installation Photographique ‘Moîse confié aux eaux du Nil’
Impression sur plexiglas , Dimensions variables
Galerie, Friche la Belle de Mai, Marseille

This photographic composition opens the door to imagination.The photographic elements are detached from one another, similar to theatre props. It’s a scenography that, by following a vanishing point reveals itself in its ensemble as a decomposed painting.I leave the light in through the openings that the space has to offer. It will go through each photographic element that, being transparent, will have its whole meaning revealed.
It is a scenography that doesn’t leave aside any of the magistral composition recipes discovered by its great predecessors of the Italian Renaissance and classic age.My models` looks show that they are asking themselves questions and they are at the same time suspicious about the order of the identity of the appearance and of the hidden. I use sequences from the Antiquity and academic poses and adapt them to our age, knowing that the ages are not very different, especially when it comes to geopolitical situations that crossed them. A kind of perfection of the sculptural aspect emanates from the characters that are in this way close to the world of fashion and dramatisation.

Territoire hybride, 2012
Technique et dimensions variables, néons.
50 ans de réflexion’ à l’ICI. PARIS
Territoire hybride plonge le visiteur dans une découverte éloignée des clichés d’Alger la Blanche. A la veille de l’indépendance et au lendemain du départ des colons, les Algérois habitant la Casbah ont occupé les logements de types haussmanniens laissés vides par les Européens A mi-chemin entre la rue et l’intérieur des appartements , ces halls d’entrée révèlent l’architecture tantôt coloniale, tantôt exotique, et la manière dont la vie et la lumière en font un patrimoine contemporain. Omniprésents,les escaliers sont une invitation à entrer et à découvrir une ville dans toute sa dimension quotidienne, loin des images d’Épinal de la capitale algérienne. En France , Les halls d’entrées des banlieues populaires sont à présent de plus en plus perçues comme des « zones »à l’abandon, détachées du reste de la société, en somme des lieux de déperdition.

Hybrid territories, 2012
Various techniques and formats, neons.
A photography series exposed within the exhibition 50 ans de Réflexion at the ICI. ( Paris)
This questioning photo series immerses the visitor in contrasted visions of hall entrances in opposite urban and architectural contexts, both the Haussmann style architecture located in the « Algiers the White «and of the entrance halls of the outskirts of Paris at the junction between indoors and outdoors, the city and private home flats.
Far from the expected cliché about blinding sunlight on picturesque Algiers, we discover empty entrances and mysterious staircases, lost in half-light. Those images draw a parallel with views on modern and functional building entrances in the suburb projects, looking as unclaimed and empty – revealing both inadequate and hybrid territories. This sensitive approach to daily life and intimacy does also refer to postcolonial situations, memories and reflections.
The halls of popular suburbs buildings are now increasingly perceived as abandoned «zones» , left apart and detached from the rest of society.

Installation view, ‘Transit’, 2011, HD video duration 07:50, in ‘My Sister Who Travels’ at Mosaic Rooms, London.
Image courtesy the artist.
The picturesque evaporates, as questions of economic and political migration surface through human narratives of movement. These ‘moving photographs’, like their still counterparts, explore political inequalities between the Global North and the Global South.