155 x 220mm, 92 pages, Colour printing, Perfect bound, Hardback, Ed. of 50, 2023

.. a MISH MASH well organized : not because there are too many things to imprint on one’s own mind .. like for instance the will to discuss visual impairment and photography’s realities in the early 21st century. Why is the photograph of a deprived homeless adjacent to an anti-war graffiti on a street signage in the same fold ? It’s not a clause towards consequence. It’s no shame nor pride, it’s just natural depth. It’s to yield up this opt-out possibility nowadays still convenient. Different issues might emerge from the serial occlusion, the ‘super natural’ editing of these still images merging some positive as docile as critical insights. None of the photographs may or not mirror wryly the next, the previous one nor dismiss the whole set. It’s an amused bid to recoup a forgetful wariness about common sense and reality. The media is the turn out, the book is an evidence amongst a sea of relish and paper tigers. A resolve resulting from analogical film cameras’ production, used as a technology of the 20th century, inscribing some, mostly on negative and positive, to expand the visual remains. The little opus doesn't purport to envision less than the defection of modern tourism as much as to surface the voracious consumer bare bones within an illusory sense of belonging and civilization. The Grand Tour isn’t in the title nor on the board tracing the map to follow. It was but won’t be no more where the surf can’t rip more than invisible schemes, facts and memories, when the blank pages are filled with less than pictures and scribbles : words. And it’s out of respect to photography, not to too many who have been using it deliberately without risk. A very few copies of the core of the book (80 pages) were initially printed in 2018 with a soft cover in the same format. This final version was supplemented with a text, a few more pages of a different paper and the A5 textile hardcover with an original embossed drawing in late 2021. 

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