L'amoureux Qui N'oublie Pas Quelquefois Meurt Par

In Front Of The Photograph Of My Mother As A Child, I Tell Myself: She Is Going To Die: I Shudder, Like Winnicott's Psychotic Patient, Over A Catastrophe Which Has Already Occurred. Whether Or Not The Subject Is Already Dead, Every Photograph Is This Catastrophe.

As Spectator I Wanted To Explore Photography Not As A Question (a Theme) But As A Wound.

Le Langage Est Une Peau: Je Frotte Mon Langage Contre L'autre. Language Is A Skin; I Rub My Language Against Another Language.

Ultimately, Photography Is Subversive, Not When It Frightens, Repels, Or Even Stigmatizes, But When It Is Pensive, When It Thinks.

The Photographer, Like An Acrobat, Must Defy The Laws Of Probability Or Even Of Possibility; At The Limit, He Must Defy Those Of The Interesting: The Photograph Becomes Surprising When We Do Not Know Why It Has Been Taken.