For example Petrole and Stereo are found slides seemingly abandoned and lost holiday pictures. If Allouche and Richer are not their proper authors, organizing it in series, (Petrole), the artists underline the standards of family snapshots.
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Stereo puts together pictures which have the same subject but their point of view is slightly different (more or less half a meter). This work reminds us of 19th century stereoscopic photography, where two photographs of the same subject seen with special glasses make a three-dimensional effect.

Here, Stereo is evidently a dysfunctional stereoscope. The supposed mistake and its solution decided by the photographer are here exploited by the artists. The double point of view of the photographer, now unknown, makes the penetration in the landscape and in the image literal. With this work, if we wander about the decisions of the photographers (the subjects, the frames, and so on), we are fascinated by the simple play of double-movement, not the intended effect of original 19th century stereoscopy using anonymous erotic pictures.

La Foule (The Crowd) and Fantome (Phantom) (from 2001 and 2002, exhibited in Glassbox and the Vitrine) Black Night and White Hole (2002, SSamziespace) are found or new bowling balls. If they look like ready-mades, they are modified. Shiny and polished, the holes are sometimes filled or made of various sizes. These works constitute a series that could never end. The variations are infinite to counter the idea of mass-production logic and its marketing strategies. The variations are always a way to make identically duplicate objects unique and attractive.

Black or white ; opaque or shiny ; fulfilled, with a starting hole, with a hole from part to part ; the object bowling ball never give its cue. The functional object becomes a mysterious sculpture. As a McCracken’s sculpture, it assumes its imposing secret even when you can physically see through it (White Hole),

But these balls are not proceeding from a minimalist logic because they are always made in a different way and the effect is allways specific and strangely new.
Is it marketing knowledge adapted to the field of minimalism?

I would rather say that, with this work we become conscious on one hand of formal minimalist strategies and on the other hand of sublime esthetics. Making endless variations of the “sublime secret ”, they logically reactivate it, making it new each time (Crowd, Phantom, Black Night and White hole) while at the same time paradoxically deconstructing it.