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Archives

5th December 2025
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WHAT ROLE DOES NOSTALGIA PLAY IN YOUR COMPOSITIONS? IT SEEMS LIKE YOUR WORK STEMS FROM YOUR PASTS, BUT ALSO FROM THE IMAGINED PASTS OF OTHERS?

What matters to us above all is the present. Our images revolve around the portrait; they’re built around the personality of the model, who steps into a role we’ve crafted especially for them—an icon that represents them, where we blend their personality with our own dreams. Photography captures a moment: it is the present, an emotion, something that emerges from them. But the image also speaks of their history, where they come from, and of the world through their personality

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IN YOUR IMAGES, YOU ARE SEEKING TO IMMORTALIZE A MEMORY, A MYTH, BUT ALSO TO REINVENT ONE THAT NEVER TRULY EXISTED… COULD YOU PLEASE ELABORATE?

We’re not nostalgic, but we look at the past, the present… It’s our story. They are icons that reinvent the world in our own way. Cinema enriched us deeply in childhood—it left a strong mark and a strong influence. The idea of stepping into roles has always been a dream for us; we’ve kept our childlike spirit. Through our images, perhaps it’s this idea of immortality that we’re searching for.

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YOUR SAILORS DON’T SAIL. YOUR SOLDIERS DON’T FIGHT. YOUR SAINTS DON’T PREACH. WHAT ARE THEY FOR? IDOLIZATION? REDEMPTION? EROTICISM? ALL THREE?

We often think of the photographs of Saint Thérèse embodying Joan of Arc, taken by her sister Céline…We can start from a story and turn it into something completely different. In our work, there’s a large part of improvisation—we need a great deal of freedom to create. We surprise ourselves; it feels like a grand adventure. Our images are made for dreaming. Everyone can see and discover what they want in each image; they can also speak and even help.

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DO YOU EVER PHOTOGRAPH PEOPLE YOU DISLIKE—OR IS LOVE THE ONLY LENS YOU TRUST?

We don’t believe you can photograph someone you don’t like at all, yet a tiny detail, a little something, can change everything. And of course, there are two of us—we don’t always have the same tastes or the same desires. We’ve always known how to adapt; it allows us to open up to things we might never have imagined or dared, and being two is wonderful because it constantly forces us to question ourselves.

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IF YOU HAD TO MAKE A PORTRAIT OF ALFRED HITCHKOCK, ORSON WELLES OR WOODY ALLEN, WHAT WOULD BE THE SCENOGRAPHY?

We often feel the urge to photograph someone, but we like to take time to think before finding the right idea, the right way to approach it. Sometimes it’s very quick, sometimes it takes much longer—sometimes even years… You have to be patient. We’re not very good with urgency, even if that hasn’t always been the case.

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WHEN TWO PEOPLE CREATE TOGETHER NOT ONLY IMAGES BUT A SHARED LIFE, HOW DOES ONE DISTINGUISH BETWEEN COMPROMISE AND COLLABORATION? BETWEEN FUSION AND ERASURE?

It was a wonderful encounter. For us, that’s just how it is—we’ve always been good together, even if it’s not always easy, and that’s what makes it meaningful, what makes it richer. We were made for this; we could never have done what we’ve done if we hadn’t met.

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WHO ARE THE BIGGEST ICONS OF OUR TIME? AND WHY ?

The world is increasingly divided; there are countless icons, everyone has their own, and the world moves very fast—everything changes so quickly.

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DO YOU SEE YOURSELVES MORE AS CONTEMPORARY ICONOGRAPHERS… OR POP CULTURE PRIESTS PERFORMING CANONIZATION WITH THE CAMERA?

We are simply artists.

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