Estimates indicate that, of the eight million children living in institutions worldwide, one million are accommodated in Europe. It is worthy to note that institutions for children are also called ‘orphanages’, despite that most of the resident children are not orphans.
By the nature of their place within society, institutions are characterised by an element of marginalisation, carrying a stigma that often leads to social exclusion. I spent several months documenting a young girls’ state institution and never heard them using the word “orphanage”. They could sense that, by the sounds of that word, what pops up first in people’s imagination is the Oliver Twist stereotype.
Although there is valid ground in feeding the imagination and many important issues are yet to be addressed, the predominance of images depicting only the negative side of such institutions does not positively contribute to the efforts aimed at social change. Hence, the images’ predominance cannot but result in the further marginalisation of children living within, and later outside, the welfare system.
These images depict some everyday activities and gestures of teenage girls residing in welfare institutions. The girls are, to begin with, young beautiful girls who attend school, have dreams, cry over their first love, enjoy dressing up, and also laugh and have ‘best friends’.
Nonetheless, these girls are often portrayed as having nothing to show that is reminiscent of young girls’ lives outside welfare institutions. Though the approach may differ, the goal is the same: social acceptance. Without it, social inclusion will never follow.
"à Double Sens", 2 sept - 29 oct 2017, Mail 2000, Plan-les-Ouates/Genève
Les images de la série « à Double Sens » ont été réalisées en juin 2017 dans les rues de Plan-les-Ouates/Genève pour le projet d’exposition en plein-air « Terrain fertile », proposé par les communes de Lancy et de Plan-les-Ouates. Elles reflètent le lien éphémère, ou pour la vie, qui unit deux personnes entre elles.
Tribune de Genève, 12.09.2017 http://bit.ly/2fRkrOb
Le lavoir des Chavannes à Montceau-les-Mines, Saône-et-Loire est un lieu d’exception. L’ampleur et la beauté austère des bâtiments, le silence de l’abandon, la charge de la mémoire, la relation étroite avec le miroir du canal, l’envahissement végétal, donnent à ce site une grande puissance onirique.
Cet ensemble est protégé par la loi (classement MH), il bénéficie à nouveau d’un regard attentif et d’une réflexion approfondie selon ses différends aspects; mais l’avenir du lieu et sa simple gestion en l’état reste problématique.
Le lieu est donc en sommeil et peut sombrer dans l’oubli, de ce fait il peut être exposé à une disparition sans trace.
La présente exposition qui associe peinture, music et photographie souhaite appuyer cet effet d’éveil, en créant un intermède artistique dans le processus de transformation de ce lieu exceptionnel.
In the shadows cast from the strong Aegean light, silence becomes deeper and stronger when at the foot of a volcano-island. Greek mythology recounts how a sea God created the island in a rage, how a Titan lives in the volcano and how he cannot help himself but surrender to his destructive powers.
Memories aren’t just in the buildings, or the rocks they’re made up of. Memories are in this village’s ruins: the buildings destroyed by the earthquake give shape to what no longer exists; as if the village is determined to revert to it’s original self before man ever existed.
This constant Sense of Absence is echoed in the details of the forgotten lives: homes abandoned by families, a village abandoned by its community.
Today, the ones who stayed behind try to bring back to life what once was and will be again, but history’s imprint on the island is part of an eternal life identity; one where the personal significance of being is weighted in terms of yesterday, today and tomorrow..
Village of Emporio, Nisyros Island, Greece, 2009
