Morocco holds an untouched beauty, a land where ancestral rituals and traditions weave the sacred with the profane. It embodies a singular chromatic sensibility, evoking timeless, suspended atmospheres. Its colors mirror the shifting forces of nature—sand and wind, sea and fire, the blinding sun—shaping not only landscapes but the spirit of its people. Above all, ochre yellow dominates, deepening in intensity as it bathes forms in purity and reveals the preciousness of every detail.

Morocco, Sentimental Atlas is a meticulous collection of everything I have loved most—a tribute to the country’s powerful harmonies, audacious contrasts, and boundless creative energy. At every turn, scenes emerge as if drawn or painted, yet they are nothing more than the spontaneous compositions of everyday life. Colors here are not just seen; they are lived—dense, radiant, enveloping, much like the care embedded in each gesture and the generosity of a people eager to share their world.

This project is also an intimate journey. Morocco is the birthplace of the woman I love, the land that holds her roots. Morocco, Sentimental Atlas is not merely a tribute but a search—an attempt to trace the shades that illuminated her childhood, to map the emotions that tie memory to place, past to present.

At 48.8 degrees north, an invisible line crosses Paris.

No map really marks it, yet it runs from east to west above rooftops, stations, and bridges, quietly following the curve of the Seine.

One afternoon, I began to follow it.

At first, everything feels familiar: the Île de la Cité, the pale stone of the quays, a city that seems already aware of its own image. Then, almost imperceptibly, the city shifts.

A weathered poster of Johnny Hallyday watches the street. Beneath it, other faces appear, other layers of time.

That is where the city begins to reveal itself.

A figure enters the light and disappears.
Two walls covered in posters seem to recognize each other.

Nothing extraordinary happens.

And yet, along that line, another map of Paris appears—made not of monuments, but of encounters.

A city that exists only in this way: in fragments, one moment at a time.

What if we were nothing more than shadows, our identities defined by the simplest inflection of light? The question opens a horizon of possibilities, yet at the same time it confronts us with the condition of being mere spectators of the world around us.

The unease that afflicts much of humanity today is elusive and difficult to define. Many experience sadness, exploitation, or isolation, yet there is no longer a visible center of power against which to direct anger or in which to place hope. In the past, oppression had symbols, places, and faces. Today, its forms are diffuse, intangible. Perhaps the search must begin within ourselves.

Over the last century, the Western world has pursued the conquest of the material sphere, while neglecting the spiritual one. This fracture has left deep consequences: according to the World Health Organization, nearly one billion people worldwide suffer from mental health disorders such as depression, anxiety, or addiction. Every forty seconds, someone takes their own life.

The works presented here are situated in this context. They portray shadows and silhouettes—figures without identity in spaces without belonging—forced into dissonant encounters, immersed in raw and vibrant color. They ask us to reflect: have we become shadows ourselves, spectators searching for what we can no longer find within?

Color, first and foremost, is a universal language, understood without words: a silent, visual language. It is upon this oxymoronic premise that the project Normandy, Colors Only is based, where color is the key, a banner under which matter and light explode into a unique chromatic constellation that portrays this region.

Normandy stands out for its distinctive hues, shaped by natural conditions and the cultural evolution it has undergone over the course of its history, as evidenced by the Impressionist palette, born of these places, where purples and blues dominate. However, the experimental reconstruction of cities like Le Havre and Caen, following the Allied bombings during World War II, left an indelible mark on this chromatic universe, enriching it with new, meaningful shades.

Thus, Normandy, Colors Only presents itself as a personal sensory translation in search of harmony that begins with the delicate beige of the beaches, unfolding through the sinuous monochromatic forms of Oscar Niemeyer's buildings, and extending to the architecture of light and transparency by Jean Nouvel. It is a silent dialogue—whose language is precisely this silent color—between landscape and architecture, architecture and man, coexisting and intertwining inseparably, creating new possibilities for the exploration of space and presence. A narrative that evolves through chromatic gradients, with images that deconstruct and reconstruct themselves based on and through color itself, a guiding thread for discovering a new way of observing these places.

The project Normandy, Colors Only was developed during an artist residency at the prestigious Festival Planches Contact in Deauville, under the artistic direction of Laura Serani. A huge thank you to Laura Serani, Niccolò Hebel, Camille Binelli, and Chiara Soldati for their immense support, which made this residency an unforgettable experience. A special thank you goes to Martina Fusaro, whose keen insight helped shape the perfect titles for this new chromatic exploration of Normandy. Normandy, Colors Only won the Prix du Public Tremplin Jeunes Talents 2024.

Alvar Aalto, born in 1898 in Kuortane, Finland, stands as one of the last great figures of twentieth-century architecture. His approach conceived buildings — whether expansive urban plans or the most modest dwellings — as living organisms, in which every element was intimately interconnected. Aalto resisted the rigidity of architectural dogma; instead, he pursued a fluid, intuitive process in which each project unfolded as a singular journey, shaped slowly and attentively from the first sketch to the completed form, always imbued with his distinctive presence.

His creations feel alive and fluid, as if they naturally grew from their surroundings with effortless grace. Aalto’s exceptional sensitivity to the significance of individual components and construction phases allowed him to imprint a recognizable style even on the simplest projects. This holistic vision extended beyond architecture to furniture, lighting, textiles, and everyday objects — all conceived to make a home truly livable. At the core of his work lies a fundamental unity of idea, form, and way of life.

Alvar Aalto Reimagined inhabits this space — between architecture and life, memory and invention. The Helsinki home, the studio, and the summer house in Muuratsalo become settings for a series of quiet, suspended scenes: intimate, at times enigmatic, inhabited by the people who once surrounded him — Aino, Elissa, his daughter Hanni, collaborators, muses, guests.

These are not historical reconstructions in the traditional sense, but neither are they pure inventions. The figures and events depicted emerge from concrete sources: archival photographs, oral histories, letters, and other recovered fragments.

The project draws directly from real situations that took place within these walls — conversations, gestures, domestic rituals — and, where possible, respects not only the historical atmosphere but even the specific locations within the rooms where these moments are believed to have unfolded.

Rather than illustrating these materials literally, the images reinterpret them — translating memory into staged presence. Each tableau opens a threshold where the factual and the imagined intertwine, allowing the past to surface, momentarily, within the present.

Aalto himself never appears in these images, yet his presence is unmistakable — not as the subject, but as the silent observer behind the camera, watching over every frame. This project does not seek to recreate the past, but to offer an invitation: to step, for a brief moment, into the places he once inhabited — to dwell within an architecture of people, silence, and interiority that still carries the memories of what once happened there.

This project was made possible thanks to the generous support of the Alvar Aalto Foundation and Aalto2 – Museum Centre, who opened the architect’s spaces to a new form of visual imagination.

In the ongoing photographic project Femmes à vélo ("Women on Bikes"), composed of over forty images captured in Paris between 2023 and 2024, my aim is to document the urban revolution surrounding cycling in the French capital. These photographs capture candid moments of women on bicycles, reflecting the vibrant rhythm of Parisian life in the true spirit of street photography. As a passionate cyclist, resident, and lover of the city, I am deeply pleased to present a project that celebrates the natural integration of cycling within my beloved Paris.

The natural and spontaneous shots in this series reflect the genuine joy of encountering fellow cyclists as they navigate the streets of Paris, a place that, for me, represents both home and a constant source of inspiration. Among the women featured in these photographs are icons like Apollonia Poilâne, a global symbol of women’s cycling, along with young rising stars of the French cycling scene, such as Aurum ambassador Angèle Paty and the multi-talented Laurianne Melierre.

In collaboration with Eva Cordioli, the project leader, whose insightful interviews enrich the visual narrative, this project has garnered the support of the Ville de Paris. First unveiled in February 2024 with an exhibition at the Town Hall of the 7th Arrondissement in Paris, Femmes à vélo immediately sparked great interest and unanimous admiration. Following this debut, the project was screened at the prestigious Grand Rex, an iconic venue in the French capital, where the audience experienced the portraits and stories of these women cyclists on the big screen. Subsequent exhibitions were held in Nice, and recently Femmes à vélo was selected to inaugurate the new Parisian cycle route from Daumesnil to Bastille with a unique open-air exhibition stretching across several kilometers.

This initiative aims to continue inspiring and promoting women’s cycling across France, highlighting the importance of diversity and inclusion in the world of cycling.

Modest fashion has become an increasingly popular term in recent years, and for good reason. It refers to clothing that covers the body in a way that is considered modest by a particular culture or religion. Modest fashion does not mean that the clothing has to be plain or unattractive. In fact, there are many stylish and fashionable options available that are both modest and trendy. Modest fashion is not a new concept. Many cultures and religions have been practicing modesty for centuries, and it has only become more prevalent in the fashion industry in recent years. This photo series is about the behind-the-scenes of the Dubai Modest Fashion Week 2019, on assignment.

Entre chien et loup is a French expression that translates to "between dog and wolf" in English. This phrase refers to the time of day just before nightfall when it's difficult to distinguish between a dog and a wolf. It's a metaphorical expression that refers to the time of day when the light is fading, and things become uncertain and ambiguous.

It can refer to a time of day when the sky is changing colors, or it can refer to a time in one's life when one is going through a period of change or uncertainty. This phrase can also be used to describe a feeling of unease or fear that arises when one is in an uncertain situation.

The origin of the phrase "entre chien et loup" is uncertain. Some people believe that the phrase comes from a time when wolves roamed freely in France, and it was difficult to distinguish between them and domesticated dogs at dusk. Others believe that the phrase comes from the world of hunting, where it was difficult to distinguish between different animals in the dim light of early evening.

Regardless of its origin, the phrase "entre chien et loup" has become a part of French culture and language, and it's often used in literature, music, and art.

Early works are often considered to be the building blocks of an artist's career. These works may not be as polished or refined as later pieces, but they are valuable for many reasons. They can provide insight into an artist's creative process, showcase their development over time, and even serve as a window into the historical context in which they were created.

As with many photographers, my early works were a way to experiment with different styles, techniques, and subjects. They were photographs influenced by the works of other photographers and reflected attempts to find one's own voice and style.

The photographs presented here encapsulate moments from my first Moroccan journey in 2010, representing a pivotal period in my artistic exploration. At this juncture, I had only recently embarked on my photographic journey, and these images serve as a testament to my early foray into the craft. These photographs are among my first color photographs and reflect my initial attempts to master the intricacies of the medium.