‘Madura c’était le ciel reflété par les trous sombres de l’eau des bassins rituels d’écume verte, trois fleurs blanches devant une divinité invisible, une Kali noire couverte de linges plus ou moins sanglants, l’odeur de la corruption couverte par celle des tubéreuses, le brillant huileux et noir des galeries polies par la sueur des hommes et le passage des bêtes, les promeneurs découpés sur les percées flamboyantes ou perdus dans les fonds d’obscurité’.

André Malraux, ‘Antimémoires’.

‘Nombreuses sont mes naissances passées’, titre inspiré d’un poème épique de la Bhagavad Gitâ, est une réflexion sur un univers sombre où déambulent des hommes et des bêtes, malades de la pollution urbaine, laissés pour compte d’une société globalisée.


“Wabi-sabi is the Japanese art of finding beauty in imperfection and profundity in nature, of accepting the natural cycle of growth, decay and death. It celebrates cracks and crevices, and all the other marks that time, weather and loving use leave behind.”
Tadao Ando

Applied to the photographic medium, this concept inspired me images that express what new technologies are not. Facing the million pictures that are proposed to us on a daily basis, I felt the necessity to find again the imperfection of the argentic film and the smoothness of the medium format camera


This series is inspired by novels of American writer Paul Bowles. I wanted to portray the architecture, the gloominess of the desert citadels. The long exposure times blur the silhouettes that appear as ghosts of the past. Soon will only remain sections of walls and mud heaps. Until obliteration.


I travelled in Bhutan for a few weeks in 2000 and lived there for 5 months in 2010. Thanks to the Gross National Happiness concept, invented by the fourth King in 1972, the kingdom has managed until now to preserve its culture and its environment. However, the youth, who represent 58% of the population, do not wish anymore to be farmers or monks. They migrate to cities where they struggle to find an occupation, forcing the government to create jobs and open the country to the globalised world. Is the kingdom losing its innocence?


‘All animals know what is necessary for them, but man doesn’t’.
Pliny the Older
‘Contrary to man, animals do not have the arrogance to believe themselves the King of animals.'  
                                                                                        Théodore Monod

‘Man is said to be an animal but not a beast’. The first part of this assertion suggests the existence of a background of animality in man whilst the second one evokes the superiority and domination of humanity on the beast.

The animal is subject to attachment, affection or fascination, it is source of metaphors, terror, mystery and sacredness. It is both hunted and protected, domesticated and sacrificed, loved and consumed.
The images in this series are humorous, strange or annoying. Beyond their poetry, they are often moving and question our role in the world we inhabit: doesn’t the domination of the human being over the beast impose to him more duties than rights?


A Golden Land with Smiling People. Such is the image of Myanmar that the military government wishes to project. Burma has been opening up in the last two years and it is now a popular tourist destination. However, even though the country has clearly achieved much progress, little change has occurred in the daily life of the population.

By putting in tension portraits of ordinary citizens with the kitsch luxury of the new capital, the pictures show the uncertain future of a population that is subjected to one of the worst dictatorships. For most Burmans, the alternative has been the exile in Thailand where 91,000 refugees / asylum seekers are still crushing up. For them, it is still too early to come back home.



In the foggy hills of South-West China live minorities who have remained secluded from the rest of the country, a changing world, forgotten for centuries, penetrated by the mainstream Han culture, but not really Chinese yet. A world between the east-coast modernity and the official reconstruction of traditional villages that have sunk into oblivion. This work is a tribute to people who have been forgotten and often scorned, it sends contradictory signals of beauty and distress as, behind the splendid landscapes and the lovely costumes, appears the gloomy reality of daily life.


Visions of the Himalayan kingdoms of Ladakh, Spiti, Kinnaur, Zangskar, Sikkim and Bhutan. All but Bhutan have disappeared, swallowed by India. All are doing in a short period of time the trip that has taken centuries for us to make.