When I started photography in the late 2000s, I quickly began to take a lot of self-portraits. On the one hand, because I didn’t dare to take pictures of other people and on the other hand, because I was constantly on hand and I could, therefore, manipulate myself without any limit.

By exploring the question of appearances, I created many series of self-portraits. And as in the selfies, I realized, that the camera’s mecanical gaze had the power to transform me.

As soon as I turned on the self-timer and walked before the lens, I created a new identity. Like an actress, I automatically put myself in the shoes of a character and gradually moved away from the faithful representation of reality, even when I wanted something autenthic. It was also really strange since I also noticed that I never took self-portraits in the
presence of other people, as if this change was far too intimate, too personal.

With few ingredients, «Asymétrie» shows me as a photographer and as a model, representing then this transition where I leave the real to reach the fake.