I have constantly enriched my Imaginary museum with thousands of faces photographed during my journeys across the continents. And throughout the years I have put together an Imaginary anthropology, like Edgar Morin’s publication, or a reinterpretation of the world according to Tahar Ben Jelloun, contributing to the decryption of the meaning of this obstinate quest, revealed during exhibitions both in France and abroad.
In 2009 in Meknes, in response to an invitation by the French institute, I have embarked in a portrayal of the medina, through numerous faces captured in monuments, trees and everyday items. In the public space, at the threshold of the medina, 300 large format photographs of Origènes have been shown: pictures unveiling spirits nested in seemingly inert realities. Their assembly formed an ever-changing multifaceted portrait,...
I have constantly enriched my Imaginary museum with thousands of faces photographed during my journeys across the continents. And throughout the years I have put together an Imaginary anthropology, like Edgar Morin’s publication, or a reinterpretation of the world according to Tahar Ben Jelloun, contributing to the decryption of the meaning of this obstinate quest, revealed during exhibitions both in France and abroad.
In 2009 in Meknes, in response to an invitation by the French institute, I have embarked in a portrayal of the medina, through numerous faces captured in monuments, trees and everyday items. In the public space, at the threshold of the medina, 300 large format photographs of Origènes have been shown: pictures unveiling spirits nested in seemingly inert realities. Their assembly formed an ever-changing multifaceted portrait, embracing its differences. Some of these photographs are presented by Patrice Trigano at a crossroads with Tahar Ben Jelloun’s paintings.
Claude Mollard
