Since the 70s I mainly photograph still lifes in studio with large, even very large format cameras. This very demanding practice requires a certain rigor and great concentration that sometimes borders on a kind of autism. In 1990 Polaroid released, to my great happiness, a new model called in France «Image Elite Pro». It uses films of a new format and offers many features such as image overlay and, with separate accessories, allows to make close-up shots. In short, a little gem that adds to the instantaneity of the process an unexpected technology for this type of device. I discovered it as soon as it was released and immediately fell in love with it. Its use is totally opposite to my studio habits, and becomes a kind of parallel therapy during this long period that goes from 1990 to 2000. Hundreds of images of trips, walks, landscapes, family, friends or people met by chance. The immediate development of the image requires, if we want to make an overprint, to realize it very quickly, without too much thought, looking for the second subject. The result is often unexpected, the result of chance and funny associations of ideas. The unconscious is expelled by the Polaroid rolls and the relationship with the subjects becomes a kind of games and sharing. Another peculiarity of this camera was the need to use a rather ridiculous accessory to focus: a small string coming out of the lens to fix the distance with the subject forced me to approach it-here with a technology that made the operation rather funny. The images were therefore built by necessity with the subject, impossible to steal images with this so singular process. And if we add to this a small overprint of a scenery or a landscape nearby the game becomes complicated and facilitates relationships. And what about the very principle of the Polaroid, a small print that can be left to people who shared with me this little moment of complicity. In short 10 years of freedom and pure pleasure. Its production stops at the end of 2000 and with it the availability of films.... a page is turned. You will find here a selection of the different typologies, I take the opportunity to thank all those who are present on the images and that, in principle, have already had copies, for those who would like to have prints I am at their disposal.

It was during my travels to Milano for my project "Interférences" that I realized how populated the city was with advertising images looking like appearances in the urban landscape. The scale ratio of the objects, characters and faces exhibited added an extra dimension to the strange sensation that these panels cause on a daily basis. From there I collected, over my travels, this series of giant watches, oversized faces and characters, a kind of religious iconography of the cult of consumption.

The Polystyrenes, beyond their polysemy of ephemeral objects, fragile, reassuring and symbols of overconsumption, are an unconscious tribute to my father. In the 1950s, a sculptor by training, he had to abandon this artistic profession out of necessity to launch himself into the industrial manufacture of plastic packaging, thus contributing, despite him, to the wave that has submerged our societies. In the early 2000s, inspired by the strange design of polystyrene packaging and their immaculate whiteness, I started a collection that grew over the years and settled permanently in my studio occupying a large wall and looking like a science fiction decor. In 2017 I make this series on black background with all the pieces. Saved from a cruel fate, they bear witness to our society of abundance. Designed to protect they are non-objects whose usefulness is immediately erased their hosts out of the package. Endangered species their life expectancy is ephemeral. White as bones, ghostly traces not fragile enough to be absorbed by nature the Polystyrenes slowly degrade in our landscapes without disappearing. How can these witnesses of the products they protected be thrown away, forgotten, no longer exist in our memories?  Their presence here is a testament to our exchanges during this period of ecological carelessness that marked the era of all plastic. These are now sacralized by photography, each one bearing within himself the mystery of the object he protected, reminding us in depth of a stage in our society of abundance. Everything has an end:-)

"Interférences" is a project about the wires of the Milanese tram inspired by my own experience of the 50s-60s, when, going on foot to school, I wondered if there was a reason for the sky of Milan to be divided into so many geometric shapes. The way to school in this industrial city looked more like a marked course than the care free childhood. As a teenager, this spider’s web had disappeared from my mind but it was impossible for me, by photographing the city, to eliminate it from the landscape. So one day, a few years later, I tell myself that, to put back in the foreground this incredible network of cables would reconcile me with this forced Milanese childhood.