1. brand new animals: 1998–2000

Playful work examining the image of nature, its construction and mediation. Photographs of mountains, plants, animals and landscapes situated between cliché and subjective experience, collective longing and personal memory, presented as a book sequence.

The photographs were all taken by the artist, whether at the zoo, outdoors in nature, in an Imax 180° theatre, from posters, magazines or video games, etc. Intended as documentary photography, none of the pictures has been altered with Photoshop. Seen, experienced and captured on film, then applied to the book medium.

The titles are listed alphabetically without indicating page numbers, generating images in the viewer’s mind, calling for pictures and visuals. Pictures that might be contained in the book. Or perhaps elsewhere.

The work is presented in a variety of ways using various materials: airbrush on satin, inkjet on paper or canvas, c-prints, laser prints, or slide projections.
Book-cover picture: Sepp, Baeleniceps Rex, Zurich 1998, Inkjet on Canvas 100 × 70 cm.

2. we will never be so close again: 1997–1998

Portraits at traffic lights, portraits of people waiting in their cars at traffic lights. First in New York, then in Zurich and Paris, I drove in my the car from traffic light to traffic light. In the brief span of seconds while stopped at a red light, I took pictures of the drivers in cars next to mine. I did not wait for anything particular to happen. Rather, I was focussed on the looks and expressions of the drivers as they waited, often absent, focussed on something outside the frame.

Three series, c-prints on aluminium
1. New York 1997, 70 × 105 cm
2. Paris 1998, 90 × 13 5cm
3. Zurich 1998, 40 × 60 cm

From the first and second series to the third, a radical shift occurs in the photographer’s position towards his subject. A distant and passive observer in the New York and Paris series, the photographer has become an aggressive nighttime paparazzi in the Zurich sequence, penetrating the private sphere of adjacent drivers with telephoto lens and flash.

3. Sleep: 1998

Ravers asleep in their cars the day after a big techno parties, Paris and Montpellier 1998.
2 Final forms: Sleep video, 8 silver gelatine prins 100 × 140 cm .

4. Collection F117: 1995–2000

Obsessive travel photography featuring visual ready-mades, quotes and tracks, shots of urban places, spaces, buildings, people. The emotional sequencing of a fluid reality, ominous, ambivalent, illusory. At times atmospheric, at times sad or strange. Results in a prospective archaeology of an invisible, aggressively congested reality. Taken over five years in over 15 countries (Europe, USA, Russia, China, Hong Kong, the Caribbean), the collection counts about 400 colour slides.

Shows: Installations with laser prints A3-A4  or as multi-slide projection.