Photographs

A long-term photographic series developed between 1986 and 2020 across Northern Ireland, Germany, Italy, Spain, Greece, Israel, Taiwan, Japan and the United States. It is rooted in travel, but not in the idea of destination. What matters is the movement itself, and the conditions of seeing it produces.

I walk, often alone, and photograph along secondary paths, away from main flows. The work is built through time, without a predefined program. Images emerge from situations encountered, shaped by attention rather than intention. A 28 mm lens has often guided my framing, allowing proximity while maintaining a relation to space.

Side Road does not seek to document places, but to register a presence within them. Each image functions as an autonomous fragment, while contributing to a broader, discontinuous trajectory.

A photographic series produced over three nights in three European cities. All images are taken at eye level, at night, using only available light. No flash is used.

I walk, observe, and photograph. What matters is not the event, but the presence of life in its most discreet forms. Figures often remain at the edge, partially hidden, or suggested through traces: a glow from a phone, a reflection, a posture, a fragment of a body. The night becomes a space of condensation. Light isolates, reveals, or erases.

MBK is not a documentary series in the conventional sense. It does not seek to describe a place, but to register a state of presence — a broader exploration of memory, distance, and the persistence of human traces within the urban night.

A body of contemporary still lifes, each functioning as a condensed unit of life. Rather than representing objects, it organises situations in which material elements carry human experience.

Each image is constructed through a rigorous staging process. Objects are selected, arranged, and combined according to a structural logic. They do not illustrate a story; they hold its weight. The image first appears as a readable, ordered surface before the tensions within it emerge.

The work is grounded in a principle of giving and withdrawal. The composition offers clarity and balance, then disrupts them through the nature of the elements and their relationships. This movement prevents a single interpretation and keeps the image active.

Side Road 2 continues the spirit of Side Road in another visual regime: colour, digital, and the contemporary city. Where the first set worked the edges, thresholds and tensions of the world in black and white, this new cycle explores spaces saturated with signals, surfaces, reflections, signage, fencing, transit zones and control devices.

Colour does not beautify the city here; on the contrary it reveals its fatigue, its false rests, its diffuse tensions and its artificial density. New York, Italy, Marseille and other places appear not as postcards but as territories of passage, suspension and waiting.

As in Side Road, the point is not to document the world descriptively but to hold the right distance from it: walk, wait, frame, let it come. Each image seeks less an effect than the accuracy of a relation between light, surface, architecture, signal and human presence.