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Michal Florence Schorro
TEXT
Michal Florence Schorro

I am interested in the structures of urban spaces; gardens as sites of community
and social justice; and, more intimately, plants and places as carriers of
memories and identity.
Developed over an extended time period, I often work with extensive series of
images that incorporate repetition. This allows me to reflect upon and
experience themes such as processes of belonging and natural cycles and to focus
on my connections to all living things sourrounding me.


lives and works in Zurich, Switzerland.
If you're interested in viewing my commercial photography portfolio, please
don't hesitate to contact me.

member of near. swiss association for contemporary photography


pdf portfolio here

hi@michalschorro.ch


EXHIBITIONS (SELECTION)

 * Ordinary Man, Lausanne, 2022
 * COMMUNITAS III, Kunsthaus Steffisburg, 2021
 * Galerie terrain, Bern, 2019
 * Exposition Format, Mont-Soleil, 2018
 * Maxxx Project Space, Sierre, 2017
 * Cantonale Bern Jura, Kunsthaus Langenthal, 2016
 * Solo Show, Atelier Suisse, Bruxelles, 2016
 * Bureau 14c, Bern, 2015
 * Near at Free, Freestudios, Genève, 2015
 * Selection | Auswahl, Photoforum Pasquart, Biel, 2014
 * Bieler Fototage, Biel/Bienne, 2014
 * 18. Vfg Nachwuchsförderpreis, Zürich, Basel, Winterthur, Lausanne, 2014
 * Lokal-int, Biel/Bienne, 2014
 * Near by Night 8, Festival Images, Vevey, 2014
 * Festival Circulation(s), projection, Paris, 2014
 * Selection | Auswahl, Photoforum Pasquart, Biel, 2013
 * Graduates Show Master, écal, Lausanne, 2013
 * Half time, écal, Lausanne, 2012
 * Do You Read Me?, galerie elac, Lausanne, 2012
 * Festival Planche(s), Contact, Deauville, 2012
 * 100 Beste Plakate, Wien, Berlin, 2009


COLLECTIONS

 * Kunstmuseum Bern
 * Museum für Gestaltung Zürich
 * Ville de Deauville


GRANTS, AWARDS

 * Werkbeitrag Bildende Kunst, Kanton Zürich, 2024
 * Artist in Residence, Atelier Suisse, Bruxelles, 2015—2016
 * ProHelvetia, Promotion of aspiring photographers, 2014
 * Wallpaper Graduate directory, 2014
 * Vfg Nachwuchsförderpreis, 2014
 * Bourse pour le talent, fondation Casino Barrière, 2013


IMPRINT

All works © 2024 Michal Florence Schorro

Website: Boris Siebs

Michal Florence Schorro

I am interested in the structures of urban spaces; gardens as sites of community
and social justice; and, more intimately, plants and places as carriers of
memories and identity.
Developed over an extended time period, I often work with extensive series of
images that incorporate repetition. This allows me to reflect upon and
experience themes such as processes of belonging and natural cycles and to focus
on my connections to all living things sourrounding me.


lives and works in Zurich, Switzerland.
If you're interested in viewing my commercial photography portfolio, please
don't hesitate to contact me.

member of near. swiss association for contemporary photography


pdf portfolio here

hi@michalschorro.ch


EXHIBITIONS (SELECTION)

 * Ordinary Man, Lausanne, 2022
 * COMMUNITAS III, Kunsthaus Steffisburg, 2021
 * Galerie terrain, Bern, 2019
 * Exposition Format, Mont-Soleil, 2018
 * Maxxx Project Space, Sierre, 2017
 * Cantonale Bern Jura, Kunsthaus Langenthal, 2016
 * Solo Show, Atelier Suisse, Bruxelles, 2016
 * Bureau 14c, Bern, 2015
 * Near at Free, Freestudios, Genève, 2015
 * Selection | Auswahl, Photoforum Pasquart, Biel, 2014
 * Bieler Fototage, Biel/Bienne, 2014
 * 18. Vfg Nachwuchsförderpreis, Zürich, Basel, Winterthur, Lausanne, 2014
 * Lokal-int, Biel/Bienne, 2014
 * Near by Night 8, Festival Images, Vevey, 2014
 * Festival Circulation(s), projection, Paris, 2014
 * Selection | Auswahl, Photoforum Pasquart, Biel, 2013
 * Graduates Show Master, écal, Lausanne, 2013
 * Half time, écal, Lausanne, 2012
 * Do You Read Me?, galerie elac, Lausanne, 2012
 * Festival Planche(s), Contact, Deauville, 2012
 * 100 Beste Plakate, Wien, Berlin, 2009


COLLECTIONS

 * Kunstmuseum Bern
 * Museum für Gestaltung Zürich
 * Ville de Deauville


GRANTS, AWARDS

 * Werkbeitrag Bildende Kunst, Kanton Zürich, 2024
 * Artist in Residence, Atelier Suisse, Bruxelles, 2015—2016
 * ProHelvetia, Promotion of aspiring photographers, 2014
 * Wallpaper Graduate directory, 2014
 * Vfg Nachwuchsförderpreis, 2014
 * Bourse pour le talent, fondation Casino Barrière, 2013


IMPRINT

All works © 2024 Michal Florence Schorro

Website: Boris Siebs

hummings





(If we could see the lines of our connections, how clear would they be?)
2023–ongoing

1/9

hummings





(If we could see the lines of our connections, how clear would they be?)
2023–ongoing

2/9

hummings





(If we could see the lines of our connections, how clear would they be?)
2023–ongoing

3/9

hummings





(If we could see the lines of our connections, how clear would they be?)
2023–ongoing

4/9

hummings





(If we could see the lines of our connections, how clear would they be?)
2023–ongoing

5/9

hummings





(If we could see the lines of our connections, how clear would they be?)
2023–ongoing

6/9

hummings





(If we could see the lines of our connections, how clear would they be?)
2023–ongoing

7/9

hummings





(If we could see the lines of our connections, how clear would they be?)
2023–ongoing

8/9

hummings





(If we could see the lines of our connections, how clear would they be?)
2023–ongoing

9/9



colored flags (community garden policies)

ongoing project

2023

In this ongoing series, I document the flags used for communication in a
community garden in Zurich, where I actively participate. The garden is situated
in a very central and densely populated area, serving as a convergence point for
people of many different backgrounds. The flags allow a form of communication
without words or contact and are essential for the functioning of the
collaborative project. The images are arranged to follow the sequence of tasks,
with each flag color bearing a significance. Together, they form an endless
shape that mirrors the rhythms of nature throughout the year.

1/7

colored flags (community garden policies)

ongoing project

2023

In this ongoing series, I document the flags used for communication in a
community garden in Zurich, where I actively participate. The garden is situated
in a very central and densely populated area, serving as a convergence point for
people of many different backgrounds. The flags allow a form of communication
without words or contact and are essential for the functioning of the
collaborative project. The images are arranged to follow the sequence of tasks,
with each flag color bearing a significance. Together, they form an endless
shape that mirrors the rhythms of nature throughout the year.

2/7

colored flags (community garden policies)

ongoing project

2023

In this ongoing series, I document the flags used for communication in a
community garden in Zurich, where I actively participate. The garden is situated
in a very central and densely populated area, serving as a convergence point for
people of many different backgrounds. The flags allow a form of communication
without words or contact and are essential for the functioning of the
collaborative project. The images are arranged to follow the sequence of tasks,
with each flag color bearing a significance. Together, they form an endless
shape that mirrors the rhythms of nature throughout the year.

3/7

colored flags (community garden policies)

ongoing project

2023

In this ongoing series, I document the flags used for communication in a
community garden in Zurich, where I actively participate. The garden is situated
in a very central and densely populated area, serving as a convergence point for
people of many different backgrounds. The flags allow a form of communication
without words or contact and are essential for the functioning of the
collaborative project. The images are arranged to follow the sequence of tasks,
with each flag color bearing a significance. Together, they form an endless
shape that mirrors the rhythms of nature throughout the year.

4/7

colored flags (community garden policies)

ongoing project

2023

In this ongoing series, I document the flags used for communication in a
community garden in Zurich, where I actively participate. The garden is situated
in a very central and densely populated area, serving as a convergence point for
people of many different backgrounds. The flags allow a form of communication
without words or contact and are essential for the functioning of the
collaborative project. The images are arranged to follow the sequence of tasks,
with each flag color bearing a significance. Together, they form an endless
shape that mirrors the rhythms of nature throughout the year.

5/7

colored flags (community garden policies)

ongoing project

2023

In this ongoing series, I document the flags used for communication in a
community garden in Zurich, where I actively participate. The garden is situated
in a very central and densely populated area, serving as a convergence point for
people of many different backgrounds. The flags allow a form of communication
without words or contact and are essential for the functioning of the
collaborative project. The images are arranged to follow the sequence of tasks,
with each flag color bearing a significance. Together, they form an endless
shape that mirrors the rhythms of nature throughout the year.

6/7

colored flags (community garden policies)

ongoing project

2023

In this ongoing series, I document the flags used for communication in a
community garden in Zurich, where I actively participate. The garden is situated
in a very central and densely populated area, serving as a convergence point for
people of many different backgrounds. The flags allow a form of communication
without words or contact and are essential for the functioning of the
collaborative project. The images are arranged to follow the sequence of tasks,
with each flag color bearing a significance. Together, they form an endless
shape that mirrors the rhythms of nature throughout the year.

7/7



Great Experience

series of 6

2022

Series of six abstract black-and-white images capturing the sand formations
found on a golf course in Cancún. On this particular golf course, those
sand-filled depressions, known as „bunkers“ in golf, assume abstract shapes
reminiscent of puddles, clouds, or lakes. They piqued my interest with their
unexpected forms, appearing almost comical and starkly contrasting with the
questions golf courses pose about territorial ownership and the environmental
repercussions of water usage.

1/6

Great Experience

series of 6

2022

Series of six abstract black-and-white images capturing the sand formations
found on a golf course in Cancún. On this particular golf course, those
sand-filled depressions, known as „bunkers“ in golf, assume abstract shapes
reminiscent of puddles, clouds, or lakes. They piqued my interest with their
unexpected forms, appearing almost comical and starkly contrasting with the
questions golf courses pose about territorial ownership and the environmental
repercussions of water usage.

2/6

Great Experience

series of 6

2022

Series of six abstract black-and-white images capturing the sand formations
found on a golf course in Cancún. On this particular golf course, those
sand-filled depressions, known as „bunkers“ in golf, assume abstract shapes
reminiscent of puddles, clouds, or lakes. They piqued my interest with their
unexpected forms, appearing almost comical and starkly contrasting with the
questions golf courses pose about territorial ownership and the environmental
repercussions of water usage.

3/6

Great Experience

series of 6

2022

Series of six abstract black-and-white images capturing the sand formations
found on a golf course in Cancún. On this particular golf course, those
sand-filled depressions, known as „bunkers“ in golf, assume abstract shapes
reminiscent of puddles, clouds, or lakes. They piqued my interest with their
unexpected forms, appearing almost comical and starkly contrasting with the
questions golf courses pose about territorial ownership and the environmental
repercussions of water usage.

4/6

Great Experience

series of 6

2022

Series of six abstract black-and-white images capturing the sand formations
found on a golf course in Cancún. On this particular golf course, those
sand-filled depressions, known as „bunkers“ in golf, assume abstract shapes
reminiscent of puddles, clouds, or lakes. They piqued my interest with their
unexpected forms, appearing almost comical and starkly contrasting with the
questions golf courses pose about territorial ownership and the environmental
repercussions of water usage.

5/6

Great Experience

series of 6

2022

Series of six abstract black-and-white images capturing the sand formations
found on a golf course in Cancún. On this particular golf course, those
sand-filled depressions, known as „bunkers“ in golf, assume abstract shapes
reminiscent of puddles, clouds, or lakes. They piqued my interest with their
unexpected forms, appearing almost comical and starkly contrasting with the
questions golf courses pose about territorial ownership and the environmental
repercussions of water usage.

6/6



hier, hier



2022

still lifes combining plants, waste, kitchen utensils, stones and fruits
gathered in Altstetten on the way to my studio.

1/2

hier, hier



2022

still lifes combining plants, waste, kitchen utensils, stones and fruits
gathered in Altstetten on the way to my studio.

2/2

hier, hier



2022

still lifes combining plants, waste, kitchen utensils, stones and fruits
gathered in Altstetten on the way to my studio.

1/2

hier, hier



2022

still lifes combining plants, waste, kitchen utensils, stones and fruits
gathered in Altstetten on the way to my studio.

2/2



HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

three series of 84, 83 and 97 images

2016

Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are
the urban landscapes unveiled by a temporary gaze, cast upon the different
neighborhoods welcoming me this year. As successive relocations sharpen my
perception of these places, I make an effort to collect their shadows, angles,
and corners to create a personal map. Gathered from the immediate surroundings,
along increasingly familiar routes, these images serve as entries in a visual
notebook.

1/19

HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

three series of 84, 83 and 97 images

2016

Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are
the urban landscapes unveiled by a temporary gaze, cast upon the different
neighborhoods welcoming me this year. As successive relocations sharpen my
perception of these places, I make an effort to collect their shadows, angles,
and corners to create a personal map. Gathered from the immediate surroundings,
along increasingly familiar routes, these images serve as entries in a visual
notebook.

2/19

HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

three series of 84, 83 and 97 images

2016

Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are
the urban landscapes unveiled by a temporary gaze, cast upon the different
neighborhoods welcoming me this year. As successive relocations sharpen my
perception of these places, I make an effort to collect their shadows, angles,
and corners to create a personal map. Gathered from the immediate surroundings,
along increasingly familiar routes, these images serve as entries in a visual
notebook.

3/19

HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

three series of 84, 83 and 97 images

2016

Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are
the urban landscapes unveiled by a temporary gaze, cast upon the different
neighborhoods welcoming me this year. As successive relocations sharpen my
perception of these places, I make an effort to collect their shadows, angles,
and corners to create a personal map. Gathered from the immediate surroundings,
along increasingly familiar routes, these images serve as entries in a visual
notebook.

4/19

HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

three series of 84, 83 and 97 images

2016

Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are
the urban landscapes unveiled by a temporary gaze, cast upon the different
neighborhoods welcoming me this year. As successive relocations sharpen my
perception of these places, I make an effort to collect their shadows, angles,
and corners to create a personal map. Gathered from the immediate surroundings,
along increasingly familiar routes, these images serve as entries in a visual
notebook.

5/19

HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

three series of 84, 83 and 97 images

2016

Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are
the urban landscapes unveiled by a temporary gaze, cast upon the different
neighborhoods welcoming me this year. As successive relocations sharpen my
perception of these places, I make an effort to collect their shadows, angles,
and corners to create a personal map. Gathered from the immediate surroundings,
along increasingly familiar routes, these images serve as entries in a visual
notebook.

6/19

HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

three series of 84, 83 and 97 images

2016

Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are
the urban landscapes unveiled by a temporary gaze, cast upon the different
neighborhoods welcoming me this year. As successive relocations sharpen my
perception of these places, I make an effort to collect their shadows, angles,
and corners to create a personal map. Gathered from the immediate surroundings,
along increasingly familiar routes, these images serve as entries in a visual
notebook.

7/19

HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

three series of 84, 83 and 97 images

2016

Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are
the urban landscapes unveiled by a temporary gaze, cast upon the different
neighborhoods welcoming me this year. As successive relocations sharpen my
perception of these places, I make an effort to collect their shadows, angles,
and corners to create a personal map. Gathered from the immediate surroundings,
along increasingly familiar routes, these images serve as entries in a visual
notebook.

8/19

HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

three series of 84, 83 and 97 images

2016

Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are
the urban landscapes unveiled by a temporary gaze, cast upon the different
neighborhoods welcoming me this year. As successive relocations sharpen my
perception of these places, I make an effort to collect their shadows, angles,
and corners to create a personal map. Gathered from the immediate surroundings,
along increasingly familiar routes, these images serve as entries in a visual
notebook.

9/19

HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

three series of 84, 83 and 97 images

2016

Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are
the urban landscapes unveiled by a temporary gaze, cast upon the different
neighborhoods welcoming me this year. As successive relocations sharpen my
perception of these places, I make an effort to collect their shadows, angles,
and corners to create a personal map. Gathered from the immediate surroundings,
along increasingly familiar routes, these images serve as entries in a visual
notebook.

10/19

HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

three series of 84, 83 and 97 images

2016

Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are
the urban landscapes unveiled by a temporary gaze, cast upon the different
neighborhoods welcoming me this year. As successive relocations sharpen my
perception of these places, I make an effort to collect their shadows, angles,
and corners to create a personal map. Gathered from the immediate surroundings,
along increasingly familiar routes, these images serve as entries in a visual
notebook.

11/19

HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

three series of 84, 83 and 97 images

2016

Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are
the urban landscapes unveiled by a temporary gaze, cast upon the different
neighborhoods welcoming me this year. As successive relocations sharpen my
perception of these places, I make an effort to collect their shadows, angles,
and corners to create a personal map. Gathered from the immediate surroundings,
along increasingly familiar routes, these images serve as entries in a visual
notebook.

12/19

HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

three series of 84, 83 and 97 images

2016

Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are
the urban landscapes unveiled by a temporary gaze, cast upon the different
neighborhoods welcoming me this year. As successive relocations sharpen my
perception of these places, I make an effort to collect their shadows, angles,
and corners to create a personal map. Gathered from the immediate surroundings,
along increasingly familiar routes, these images serve as entries in a visual
notebook.

13/19

HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

three series of 84, 83 and 97 images

2016

Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are
the urban landscapes unveiled by a temporary gaze, cast upon the different
neighborhoods welcoming me this year. As successive relocations sharpen my
perception of these places, I make an effort to collect their shadows, angles,
and corners to create a personal map. Gathered from the immediate surroundings,
along increasingly familiar routes, these images serve as entries in a visual
notebook.

14/19

HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

three series of 84, 83 and 97 images

2016

Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are
the urban landscapes unveiled by a temporary gaze, cast upon the different
neighborhoods welcoming me this year. As successive relocations sharpen my
perception of these places, I make an effort to collect their shadows, angles,
and corners to create a personal map. Gathered from the immediate surroundings,
along increasingly familiar routes, these images serve as entries in a visual
notebook.

15/19

HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

three series of 84, 83 and 97 images

2016

Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are
the urban landscapes unveiled by a temporary gaze, cast upon the different
neighborhoods welcoming me this year. As successive relocations sharpen my
perception of these places, I make an effort to collect their shadows, angles,
and corners to create a personal map. Gathered from the immediate surroundings,
along increasingly familiar routes, these images serve as entries in a visual
notebook.

16/19

HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

three series of 84, 83 and 97 images

2016

Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are
the urban landscapes unveiled by a temporary gaze, cast upon the different
neighborhoods welcoming me this year. As successive relocations sharpen my
perception of these places, I make an effort to collect their shadows, angles,
and corners to create a personal map. Gathered from the immediate surroundings,
along increasingly familiar routes, these images serve as entries in a visual
notebook.

17/19

HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

three series of 84, 83 and 97 images

2016

Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are
the urban landscapes unveiled by a temporary gaze, cast upon the different
neighborhoods welcoming me this year. As successive relocations sharpen my
perception of these places, I make an effort to collect their shadows, angles,
and corners to create a personal map. Gathered from the immediate surroundings,
along increasingly familiar routes, these images serve as entries in a visual
notebook.

18/19

HOOD I Wiedikon, II Weissenbühl, II Schaerbeek

three series of 84, 83 and 97 images

2016

Wiedikon in Zurich, Weissenbühl in Bern, and Schaerbeek in Brussels: these are
the urban landscapes unveiled by a temporary gaze, cast upon the different
neighborhoods welcoming me this year. As successive relocations sharpen my
perception of these places, I make an effort to collect their shadows, angles,
and corners to create a personal map. Gathered from the immediate surroundings,
along increasingly familiar routes, these images serve as entries in a visual
notebook.

19/19



They see me

Series of 11 images

2015



1/11

They see me

Series of 11 images

2015



2/11

They see me

Series of 11 images

2015



3/11

They see me

Series of 11 images

2015



4/11

They see me

Series of 11 images

2015



5/11

They see me

Series of 11 images

2015



6/11

They see me

Series of 11 images

2015



7/11

They see me

Series of 11 images

2015



8/11

They see me

Series of 11 images

2015



9/11

They see me

Series of 11 images

2015



10/11

They see me

Series of 11 images

2015



11/11

They see me

Series of 11 images

2015



1/11

They see me

Series of 11 images

2015



2/11

They see me

Series of 11 images

2015



3/11

They see me

Series of 11 images

2015



4/11

They see me

Series of 11 images

2015



5/11

They see me

Series of 11 images

2015



6/11

They see me

Series of 11 images

2015



7/11

They see me

Series of 11 images

2015



8/11

They see me

Series of 11 images

2015



9/11

They see me

Series of 11 images

2015



10/11

They see me

Series of 11 images

2015



11/11

They see me

Series of 11 images

2015



1/11

They see me

Series of 11 images

2015



2/11

They see me

Series of 11 images

2015



3/11

They see me

Series of 11 images

2015



4/11

They see me

Series of 11 images

2015



5/11

They see me

Series of 11 images

2015



6/11

They see me

Series of 11 images

2015



7/11

They see me

Series of 11 images

2015



8/11

They see me

Series of 11 images

2015



9/11

They see me

Series of 11 images

2015



10/11

They see me

Series of 11 images

2015



11/11

They see me

Series of 11 images

2015



1/11

They see me

Series of 11 images

2015



2/11

They see me

Series of 11 images

2015



3/11

They see me

Series of 11 images

2015



4/11

They see me

Series of 11 images

2015



5/11

They see me

Series of 11 images

2015



6/11

They see me

Series of 11 images

2015



7/11

They see me

Series of 11 images

2015



8/11

They see me

Series of 11 images

2015



9/11

They see me

Series of 11 images

2015



10/11

They see me

Series of 11 images

2015



11/11

They see me

Series of 11 images

2015



1/11

They see me

Series of 11 images

2015



2/11

They see me

Series of 11 images

2015



3/11

They see me

Series of 11 images

2015



4/11

They see me

Series of 11 images

2015



5/11

They see me

Series of 11 images

2015



6/11

They see me

Series of 11 images

2015



7/11

They see me

Series of 11 images

2015



8/11

They see me

Series of 11 images

2015



9/11

They see me

Series of 11 images

2015



10/11

They see me

Series of 11 images

2015



11/11

They see me

Series of 11 images

2015



1/11

They see me

Series of 11 images

2015



2/11

They see me

Series of 11 images

2015



3/11

They see me

Series of 11 images

2015



4/11

They see me

Series of 11 images

2015



5/11

They see me

Series of 11 images

2015



6/11

They see me

Series of 11 images

2015



7/11

They see me

Series of 11 images

2015



8/11

They see me

Series of 11 images

2015



9/11

They see me

Series of 11 images

2015



10/11

They see me

Series of 11 images

2015



11/11

They see me

Series of 11 images

2015



1/11

They see me

Series of 11 images

2015



2/11

They see me

Series of 11 images

2015



3/11

They see me

Series of 11 images

2015



4/11

They see me

Series of 11 images

2015



5/11

They see me

Series of 11 images

2015



6/11

They see me

Series of 11 images

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Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

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Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

1/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

2/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

3/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

4/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

5/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

6/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

7/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

8/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

9/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

10/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

11/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

12/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

13/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

14/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

15/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

16/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

17/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

18/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

19/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

20/21

Juste une Pause

Series of 71 images, publication available on demand

2020

The series „juste une pause“ takes a stroll through a quiet cityscape, empty of
human presence. The images alternate between architectural details and sceneries
with natural elements. Te project was made as an exercice of mindfullness, after
stepping away from photography for several years.

21/21



Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

1/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

2/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

3/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

4/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

5/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

6/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

7/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

8/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

9/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

10/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

11/12

Centre d’Art Contemporain

Book design: Katharina Tauer and Martina Vierthaler

2017

photographic essay for the book "Centre d’Art Contemporain Genève – 1974-2017"
documenting the spaces where the CAC used to be located, focusing on
architecture and light.

12/12



Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1

Track, Bow, Way

(documentation: Prune Simon-Vermot)

2018

The series track, bow, way is an exploration of my neighborhood, a former
industrial area that has been taken over by the real estate industry in the city
of Zurich with the aim of revaluing it. I moved along a disused railway line,
now transformed into a pedestrian path. It is a space where every meter now
seems to be planned and developed to the optimum. While the abstract
compositions of these photographs contrast with the organic forms of the Jura
Bernois landscape, the atmosphere is just as calm: these meticulous urban
environments spontaneously remind me of the uninhabited emptiness of the
countryside in which I grew up for some years.

1/1



Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

1/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

2/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

3/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

4/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

5/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

6/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

7/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

8/9

Place de la Reine (les poteaux)

2016/2022



Series of nine photographs capturing the car poles on Place de la Reine in
Brussels as they undergo the cycle of being knocked down and rebuilt. The images
were taken from the window of the „atelier swiss“ studio where I spent a
six-month artist residency. During my residency, the November 2015 Paris attacks
occurred, which were carried out by the Brussels ISIL terror cell. Consequently,
the terror alert level in the Brussels metropolitan area was raised to its
highest level, and the Belgian government imposed a security lockdown on
Brussels, leaving the streets empty during six days.

9/9



Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

1/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

2/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

3/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

4/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

5/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

6/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

7/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

8/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

9/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

10/11

Articulation 218–272

Series of 10 Inkjet print on blueback paper

2014

Through an abstract view of a minimal art piece – Donald Judd’s concrete cubes
in Marfa – an angular, surreal, and graphic space is constructed.

11/11



Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

1/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

2/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

3/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

4/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

5/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

6/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

7/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

8/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

9/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

10/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

11/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

12/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

13/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

14/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

15/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

16/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

17/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

18/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

19/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

20/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

21/22

Seeschlachten und Eukalyptus

Series of 43

2013

Dealing with the immaterial geography of a place and the issue of ‘Heimat’ – the
origin where identity is forged – this series is composed of childhood memories
and fragments of utopia, encompassing gestures, objects, landscapes, portraits,
observations, and wanderings. Diffuse and in constant movement, my ‘Heimat’ is
more an impression than a place, situated somewhere between Constantine, Tunis,
Männedorf, and other cities.

22/22



round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

1/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

2/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

3/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

4/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

5/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

6/7

round and square



2016

formal experimentation with sunlight, mirorrs and shadows on grey background.

7/7