Even though a photographic document is suspect by nature, we often want to believe in it. The photographer is manipulated by this subject just as much as the subject manipulates him. By inserting myself in each image, I wanted to ask the question of the truth in the photographic image. The fluorescent orange of the shutter release, clearly visible, asserts my intrusion inside the image. I thus sign the making of the document and its origin.
At the same time, I try to merge into the image. By dressing up and behaving like the people photographed, I strive to erase our representations of nationalities and social backgrounds linked to dress codes. Strangely, no-one considered this approach as being odd and all said they felt more at ease in front of the camera when I was with them. Absent from the captions in which the other names betray their romanian, italian, serbian, hungarian, german, austrian or turkish origins of the people I photographed, I question my position and the imaginary barriers raised by men between them.
"Romanian Rip" por Rip Hopkins, via BOOOOOOOM!
The imaginary barriers raised by men between them.
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