In these city portraits and models, people don’t need each other. I do not know if it is this common apprehension of discomfort that brings us closer. But in our common experience, this ordinary feeling always afflicts us so much.

It is better to accustom ourselves to the idea that cities will no longer be the places for transformation in the world, but perhaps only testing fields for a series of resistance.

What I catch a glimpse of is this implacable law of contemporary cities - amnesia. It has been a  long time since we still had hope for architecture. Everyone knows that this kind of "art" cannot make us happy. The walls of cities do not ooze boredom but forgetfulness. The cities have no memory, and the buildings look the same as chameleons. They wear make-up of white, raw concrete, and glass, to conceal their unattainability of accuracy and to camouflage injustice.

No one can escape from it. In our homes, commodities take up our time by their deafening, scarcely filtered clamors. We never cease to belong to this mechanism filled with grinding of gestures and free attitudes. The source of such degenerated works are never sufficiently denounced. In general, I think that we always emphasize too much on the architectural plans that we forgive the architects too easily, the first ones to give up.

Nothing will survive in this era. Comments, especially your interpretations. It is astonishing to think that photographs have the faculty of redemption in this weak period. There is something outrageous and almost malicious in the showrooms of Claire or Patrick's models, which presumes the failure of  aesthetic effectiveness. In this case, an anxious ceremony is created. When embarrassment prevails the ceremony, one tries to justify the separation between reality and its interpretation.

At the same time, there is no other solution.

Let us therefore accept the idea of ​​playing with cardboard models, cubes, and projection targets. What look like toys actually turn out to be blitzkrieg decorations. There are two hypotheses: either the image is blocked, interrupted in its trajectory, or it knocks on the door waiting for a hypothetical reception. People met in Egypt invite themselves and express themselves. They contribute nothing here, and have no interest in the walls of the deformed cities. Would the pitiful destiny of modern architecture be only white sheets, receptacles of anarchic images?

What do these photographs of the Arab market, which filled with exotic scenes, want to express? These are lively, sensitive, all-devouring beings in oppose to the white walls.I joyfully see in this pile of scattered notes without history, as if they were human activities and exchanges. The wall needs this flesh to better repress the fossilized time of petty bourgeois interiors. Our eyes wander over the cardboard walls, on the facades of the models. To give back flesh is to refuse the urban decoration. Just sprinkling some paint on it is enough to prove its absurdity. The urban structure that is covered by amusements of ambitious expressionism, admit its weakness.

The buildings seem to have waited long to take on shape with the help of these projections, and to question the clamors of the world. Structures and cities resemble us. Every moment that passes is like an uninterrupted magnetic stream piercing through us. It hides among us, but we do not care, we do not even feel that we are pierced on all sides.

It is the autistics who make the city a deaf and dumb object.

François Cheval (The Director of Nicéphore Niépce Museum)
Nicéphore Niépce Museum locates at Chalon sur Saône, France, where Joseph Necephon Niépce, the inventor of photography, was born.
The Image in Space and Space in Image

These works present simple masses and architectural models, and photos that were projected on them.

The use of projection is important. It spreads and lights up objects, so it is used as a compounded lighting method with other illuminants. The light was codified by photographic images and is projected on different planes.

This is a fictional method to question the materiality of an image: its surface, thickness, density,  underside, inside, and side...

An image projects itself like  an event, a moment of life, and an single organic element. It acquires a surplus of reality form the model of reality. This question of substitution for reality is a way of rethinking the status of photography: does the projected photographic image become a form of reality, or does this type of assemblage or montage create a new reality?

"The Alignment Series, 2007" brings together a series of models that framed in the same way, and represents a standardized, ordinary and banal building, on which projected a photographic sequence (a Cairo market) that imprints a concrete reality of the world. While realistic modeling of the model keeps us at a distance. Photography shows us the interior, the organic, the vernacular, and the recycled. It brings and reconstructs the reality.

"Landscape, 2006" reveals the possibility of carefully observing the cutaway diagram of a shoe, while preserving its space, different thicknesses, and the landscape in the background. It is this specific nature - an object that becomes an organic body - and its scale, that allows the transposition from the stratified geographic layers to the inhabited landscape that the projection reveals.

“Lateral, 2007" is the third part of a sequence of three images showing a photograph of the world's longest residential building on the outskirts of Rome (Corviale). The shooting space was rotated a quarter along the white parallelepiped, which makes it possible to reveal the illuminative devices and spatial construction. The first part ("Frontale, 2007") of this sequence shows this one kilometer building in a homothetic projection spot on the model. The second part ("Oblique, 2007") investigates the possible scenarios of the underside of the projected photography when making a switchover of the model. The aim of this device and of these multiple variants is to reconstruct the photographic space, as a metaphor of the optical box that echoes the history of photography and resonates with real space.

To simulate the proliferation of images in the city is to seek a passage, where an image takes shape on an object. It covers the reality and attempts to become the reality. The projected photographic image now merges with the background, and generates a point of breakthrough in the object. It suggests a reminiscence of the world images or memorial images that are inscribed in the thickness of matter, as many confusing perspectives and visions.

Patrick Tosani