The photographs of the with fleece covered glacier ice, were shot in 6×9 format. The prints on analogue transparent paper are slightly smaller than the original negatives and densify the information and fragility. They are mounted in Light Boxes.

The grotto into the Rhone glacier was built in 1870. The tunnel has to be carved into the ice again every spring because of glacial movement. In recent decades the climate change became a real danger for the grotto. According to the most recent numbers, the glacier lost ~1300 m during the last 120 years.In order to slow down the fast melting, the tunnel is covered with white fleece. Instead of offering us a walk inside the glacier, the grotto is standing today on the glacier.


MELTING DIAMONDS is an endless inventory whose purpose is to list the different types of ice, using photograms of glacier pieces. (The photogram is a photographic process without camera, invented in the 19th century), the result looks like an X-ray of the object, a precious diamond printed on the paper. The “MELTING DIAMONDS series, Field Studies”, highlights the fragility of glaciers, and keeps in a unique print a last trace before the disappearance.

HEAD OF ROSES | C - PRINTS 150x120cm | 2019

The Swiss legend of the “Armen Seelen" (poor souls) relates that the souls of those who, during their lifetime, behaved badly, are imprisoned in glaciers after their death. The photos HEAD OF ROSES shows the molded head of the artist in ice with encloses plants. When the ice melts, all that remains of the sculpture is the vegetation. The ice reflects the ephemerality of life and its programmed disappearance to reveal flowers and shows that when one thing disappears it is to give way to another.

In an idea of renewal and even here of metamorphosis, the cold of ice and death give birth to plants, a sign of hope and tenderness.

WRAPPED COLDNESSC - PRINTS 150x120cm | 2009 / 2015

Due to the rapid retreat of the Glaciers in central Switzerland the shrinking ice caps are carefully covered by a giant fleece in an effort to reduce the summer melt.Glaciers throughout the Alps are losing one percent of their mass every year and, even supposing no acceleration in that rate, will have all but disappeared by the end of the century.




The stairs immortalised in this monumental photo composition were installed with the aim of transporting tourists to the “Konkordia” hut. These "stairs to heaven" are direct witnesses of the melting of glaciers. They become a sort of unit of measurement, since each year they need to be enlarged to continue to perform their function.

Stairs "towards the sky" which however keep growing towards the ground.

MA SAMAR | C - PRINTS 100x80cm | 2019



Ma Samaritaine is a carte blanche for photographers who accompany the transitional phase and the transformative architectural gesture at the new Samaritaine, an iconic department store in Paris. 


“ The photographers were faced with an exercise in applied photography, in a specific place, with all its contingencies, its history, and its ongoing transformation. Since construction work is already under way, we also knew that this was going to be the last time that we would be able to have these artists’ insights into this place even as it is being modified. The final result, extremely challenging from an aesthetic point of view, also represents a segment of memory of La Samaritaine - and of Paris, as well.

The experience will of course continue in different ways, tracking the progress of the renovation, with several modalities for following the work, and the interventions of new prestigious authors. “



In many of my works the architecture stands in the the center and, through its appearance, pointes on historical, social and political phenomenas.

I am particularly interested in places that show “layers” and which - thanks to the various architectural elements - can be read like a book. 

The photographs are an inventory of the abandoned colonial and modernist villas in Kep Cambodia. The first series of photographs focus on signs of the re-appropriation of the buildings by the local population. The second part is an archive of the villas, still visible in 2008 - 2010.

Kep was from the early 1900s until the 1960s the favorite seaside resort of the French and Cambodian elite. During the Khmer Rouge period, many French colonial houses and villas in Kep were destroyed. The Khmer Rouge held particular hatred for Kep, since it represented success, capitalism and foreign influence. The tourist city has turned into a real ghost town. The troubled times and the intense famine which followed the years after the Pol Pot regime strongly favored the looting. The decorations in the houses and the furniture that had not disappeared for use as firewood were sold at a ridiculous price to the Vietnamese.

Some of these old colonial villas have been transformed into luxury resorts. A handful of them served as primitive habitat, a few poor families in the region inhabited them.

Most of the houses remained abandoned, invaded by vegetation, taken over by the jungle. 

LINED UP BORDERS | C - PRINTS 150x120cm | 2008



The border line, the artificial division of the landscape is the theme of the photographs. The horizontal line, a human designed architectural element, which integrate with the wild, strong landscape, are the guiding motive of the series and reduces the border to its pure abstract concept.

HIGH ALTITUDES C - PRINTS 150x120cm | 2007



In the series of “High Altitudes” the primary subject is the amazing force of nature, the sublime mountain. On closer examination of each image we discover a piece of architecture, a door, a bunker, nestled in this hard environment. All these military items, built in the Swiss Alps during the Second World War, raise questions on the political role of Switzerland at that time and also the fear and absurdity it aroused.




In the city of Madrid, seen and filmed by Jim Jarmusch, Alex de Inglesia, Carlos Saura, Fernando Léon Aranoa and others, scenes from films not shot, visions invented - inspired by the urban appearance - are photographed

FACINGPhotographs, | C- PRINTS | 2013



How can one go through a harsh story and look so peaceful and proud on the end of his life? The question of the identity is the main focus in this work.

In the area of the french occupation of Indochina, about 20.000 young men from Vietnam were sent by force to France - they should work as non-specialised workers (ouvriers non-spécialisés, O.N.S.) in the industry of the national defence. Those men - between 20 and 30 years old - were selected by force from farmer families.I photographed the last survivors of the workers who decided to stay in France. At the end of their lives.

The portraits were realised for the exhibition Histoires Parallèles : pays mêlés, curated by Alain Buffard.

MOVE AGAINST NOISEPhotographs  | 2017

VERDINGTPhotographs | C- PRINTS | 2008



One of the sad circumstance in Switzerland is the story of the Verdingkinder or Discarded Children. Up until the 1950es "unwanted" children were "placed" primarily to farmers who were supposed to take care of these children in exchange for free labor. Most of these children were psychology and/or sexually abused. Not until recently this situation has come to light.
The work VERDINGT is a series of portraits and was part of the exhibition "Enfances volées", shown in 12 places between 2009 and 2017. 

HOW CAN ONE LIVEPhotographs | C- prints |100x80cm | 2010



The work HOW CAN ONE LIVE is a work done in the psychiatric hospital and talks about illness and normality.The portraits of the elbows are photographs of patients and doctors, nursery and other people working in the hospital.The elbow is not aesthetic, vulgar sometimes, transparent and private. A part of our body, that we don't really can see but a part that expresses straight, power, structure and vulnerability through a fragile balance between muscles, bones, nerfs and veines.




The spectator is confronted with a projection of an endless journey through places in different cities of Europe. Questions are projected on the floor, taken from text messages. They are renewed in real time, move and disappear. The composition of the image and the text varies constantly, in a movement of permanent fluctuation. The mechanical language of the text messages and the cold and anonymous images of the places, plunges the viewer into a feeling of isolation but also of strange poetry. There’s feeling of proximity and the desire for exchange, but remain like a disparate set of unanswered questions, thrown into the space of deserted passages. By a capture system, the movements occurring in the device are captured and processed in real time - the more intense the captured action, the slower the rhythm of the images and vice versa.

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