In 1885, king Leopold II appropriated for himself a vast region of central Africa, which remained his private proprety until 1908, under the name Congo Free State. In 1908, following virulent criticism in Belgium and abroad, the King ceded the territory to the Belgian government: it was know as the Belgian Congo until 1960. What remains today? From the Institute of Tropical Medecine in Antwerp to the Museum of African Life in Namur, via the arcades of the Cinquantenaire Park in Brussels, Sans Sommeil explores the remains of this colonial history that bears witness to a military, administrative, social and cultural system of domination.

Le point de départ de ce travail a été ma confrontation aux images d'actualité; l'idée que je ne connaisse la situation des migrants que par images interposées. Avec ce projet, j'ai voulu changer ma posture de spectatrice, produire un geste en réaction à cette situation. Je n'ai pas réalisé de photographies documentaires, j'ai élaboré des constructions à partir de traces que j'ai détournées. J'ai agi sur un passé par des éléments laissés dans le présent pour constituer des objets symboliques.

« Cars chaser » is the project I work about cars surrounding us in the cities. In this photography project I don’t see cars as the object we know but more like a kind of animal living in our cities. During my photoshoots I imagine that cars are animals I’ve to hunt. I decided to do this serie for different reasons. The first one is more personal. I’m working in different « rental cars company » since I’m eighteen. Because of that my look about it changed. The second one is that it is one of the thing the most present in our cities and it becomes more and more invisible for us. That’s why my interest is not focused on this kind of anecdotal cars but more in average one. I try to change the nature of it with the medium of the photography.

Il faut répéter. Plusieurs fois. Se répéter pour s’inventer; se retrouver. Je me répète continuellement, pour ne pas m’oublier, mais aussi pour me reconnaître - m’entendre, me réaliser et puis m’apprendre. La difficulté est de faire coïncider deux imaginaires, ou plus exactement de réussir à ce que ma photographie sensible et privée parvienne à garder de son sens et de sa charge affective, en basculant dans la sphère de l’autre.

ETHER 1 Intermediate in which the unknown resides. 2 Unearthly (fifth) element that classifies and inspires all matter. 3 Intoxicating and purifying agent that changes our consciousness and perception and thus allows us to enter the realm of the dream. ‘There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy.’ (William Shakespeare - Hamlet)

Holiday pictures, still life, portraits of strangers or my friends taken from life, I collect the familiar, the banal, the ordinary. I’m not really interested in the show itself but in its opposite, the anti-spectacular. In a compulsive way I record my own daily life, that of my friends, my family, strangers on vacation and when I select my shots I try to keep only those which underline the habits of the Westerners and their fantasies. Man in the post-internet era, mass consumption and mass culture are the subjects that I deal with through photography and editions, but also through video. In conclusion, beyond my favorite subjects that are by nature crude, and whatever the nature of the medium, photo or video I use I always try to immortalize what is often considered as ordinary and forgotten in our daily life.