A close, critical observation of what forms a vivid picture in our everyday world is the starting point for all my projects. My approach is characterized above all by a “bricoleur” attitude which consists of playing with the limits of the perception we have of reality and its grey areas, using graphic and photographic processes. I want to exploit the interaction between what we see and what we imagine, or what we recall, in the various human activities. Like an anthropologist of images, I am interested as much in the media image as in the cultural object, both of which carry and convey connotations, denotations and references. What we think or say about the image and the object, and their polysemic content, is more important to me than their materiality itself. These are the materials I work with, in order to create shifts in perception and in which I set up what I call machinations of the gaze. These are the early beginnings of a creative space, a kind of building site, where constructions, manipulations and transformations will take place, as I play misleadingly with the codes of media language. Finally, I attempt, through my projects, to question the status of the image—how it is produced, transmitted and received—and put to the test what we see and perceive.