Rio's suburban futuristic, sweet & violent clowns erupt during carnival. When the focus of the carnival is set on the glamorous Sambodrome and its tightly rythmed samba parades, curious creatures overflow the overlooked suburban streets of Rio, rekindling life in these forlone areas. The phenomenon set in motion dazes the eye. It truly follows the tradition of street-art: vivacious, inventive, ever evolving. It is here that lies Rio's carnival's real originality. Yet this favela-born expression continues unacknowledged by the Brazilian media and high society.? It is difficult to understand how such a loud and bright movement could remain muffled. Bate Bola, or "hit the ball" in Portuguese is indeed loud and bright. Each year, gangs soaring up to a thousand members orchestrate their much awaited "Saida" (exit in Portuguese) in a flamboyant mise-en-scène, thus presenting the year's new theme and costume design. Much like thunderous hounds, these bright clowns roar through the suburbs thrashing their ball on the ground, seizing the senses. They both delight and terrorize screaming children all at once, much like a rollercoaster ride.?Yet in spite of their manly tribal performance, their costumes are oddly feminine. Their dresses' bright colors and exaggerated volumes actually make them look like over-sized lollipops. The tainted plumes, Disney-like drawings on the shiny materials add to their irresistible appeal, while the peach or strawberry perfume they copiously splash on constitutes the final touch of an almost unbearable sweetness. (..)

In the past 5 years, in the context of constant repression of Bailes Funk by the military police and shrinking spaces for parties in the favelas - a generation of young Afro-Brazilian producers reinvented the night of Rio.  The black parties, ‘Festas Pretas’: ‘Batekoo’ – ‘Yolo Love Party’ – ‘Baile do Amor’ among others, mostly take place in popular clubs in the northern zone or the port region, these festivals find there equals celebration of identity, fashion and diversity. Big, skinny, trans, gay, women - all bodies and identities have their place and reign the refusal of any racism or discrimination, the absolute respect of the expression of each individual.  Those parties are ephemeral spaces-times; dystopias of present-day Brazil, where one can heal one's soul after the insults suffered in daily life and to regain strength to continue the fight for life and recognition. (Work in Progress).

Light idols, lasers, fireworks, and DJs worshiped like international popstars. The machines they drive make tens of thousands of young Amazonians from the Brazilian state of Pará dance. For decades, families of stallholders/fairground entertainers from Belem's suburbs have had their "aparelhagens" (equipments) built; these itinerant theme nightclubs are transported by truck from one side of the suburbs to the other, or by boat to other river cities East of the Amazonia, making couples of all ages to dance. All kinds of Brazilian and Caribbean rhythms are played, but it's the Brega that rules. This music, romantic to perfection, enhanced with electric guitar and electronic keyboard solos is often condemned by the local elites, who perceives it as a musical under-style: in Portuguese, "brega" means tacky. Photographed between 2008-2017

Despised by the Elite, the carioca Funk - born in the favelas and suburbs - conquested all Brazil; Thousands of youngsters risk their life each week to participate in Baile Funk; more than a rhythm and music, the Baile Funk allows for a generation of cariocas to perform a lifestyle, and express their identity statement and shake the traditional relationship between dominant/dominated through the music and lyrics. Bailes are also a unique place for social mix, where the classes are abolished, even if it’s only for one night! My photographs concentrate specifically on the funk carioca parties (Bailes) that have taken place in the suburban clubs & favelas in and around Rio De Janeiro, Brazil. The portfolios portray the key components of Baile Funk culture: the mix of tension & attraction that the danced choreography allows, the invention of the Funkeiro body & fashion, the DJs & MCs, the sound systems and the parties themselves. Life in the favelas is oftentimes publicized for its violence and crime; theses photographs gives a rarely documented insight into this massive underground culture that has suffered decades of prohibition & discrimination. Bailes are maybe the largest informal social project of Rio, as thousands of families used to make a living from the money generated by the hundreds of weekly Bailes - but now most of them are forbidden in the so-called "pacified" favelas. Beyond music & parties, Baile Funk is an identity statement of the Afro-Brazilians & a fight for cultural rights Ongoing work since 2005...

Baile Funk Body | O Corpo do Funk Rio Baile Funk : the invention of a Body The Funk carioca movement is fashion and look as well : boys show off their muscles and naked torsos, adorned with chains and tattoos, accessories which will make the difference during the ball. Girls will look after their bikini marks, which will appear above mini-skirts or micro-shorts. Everything is worth to draw attention! ------- L'invention du corps Funkeiro Le Funk carioca, c´est aussi une mode vestimentaire et un look : les torses nus des garçons sont autant d´atouts pour exhiber leur musculature, mais aussi des pendentifs, tatouages, accessoires qui feront la différence au coeur du Baile Funk. Les filles quand à elles soignent leur "marque de bikini" qui se devine au delà des minijupes et micro-shorts. Tout pour attirer l´attention !

"After years documenting Baile Funk in the suburbs and favelas of Rio de Janeiro, it's time to show the work where it was made ! Since I started to photograph - I always had the concern to show and test the images with the people here represented. To get their feedback and approval gives me pleasure and energy to continue working on it". Depois de anos fotografando Bailes Funk (2005-2010), está na hora de mostrar o trabalho nas comunidades e suburbios onde foi realizado."Desde que me conheço por fotografo, sempre teve a preocupação de mostrar as imagens e de uma certa forma testar-as junto as pessoas ali representadas. Conseguir sua aprovação e comentários, é o que me da mais prazer e a motivação para continuar o trabalho". Projeção "Rio Baile Funk" no Morro do São João, na Vila Cruzeiro, no Santa Marta & na Boca do Mato! Agradecimentos especiais / Special thanks to: DJ Fu (São João), DJ Byano (Vila Cruzeiro), DJ Pernalonga (Boca do Mato), Luiz Vitor Carreira (SJ & BM), Tandy & Ivanildo Carmos dos Santos (Santa Marta).

Assignment on the Youth. "Wesh" is a Kabyle / Maghreb word standing for 'what's up', 'hey' that the French youth use all the time. La Brèche is the main square of the city of Niort, meeting point, buses departure, but also the stage of the teenagers everyday's life, loves, friendship, chats & boredom. With Alice, Alain, Alvin, Anaïs, Ambre, Antoine, Barbara, Bastien, Charline, Cloe, Creezy, Désiré, Eva, Fafa, Flavie, Goduine, Hayette, Henri, Jessica, Karl, Kenza, Kevin, Laureen, Margot, Mégane, Léa, Lionel, Loïc, Luca, Lionel, Mallé, Mamadou, Marcia, Margot, Marion, Michel, Naomie, Yacine, Yoann, Sorenza.. Result of an artist residence at the CACP - Villa Pérochon (Centre d'Art et de Création Photographique) in Niort, France. With the support of the City of Niort, the Region Poitou-Charente and the Ministry of Culture.

Yanomami - 20 years after the Land Demarcation. Assignment for DN magazine (Norway). Hutukara association celebrated the 20 years of Yanomami Land demarcation with an assembly in Watoriki village, home of their political leader Davi Kopenawa, re-elected by this occasion. The Yanomami Indigenous Territory, which covers 96,650 km2 of tropical forest in Brazilian states of Roraima and Amazonas is recognized for its importance in terms of protecting Amazonia's biodiversity and was ratified by Presidential decree on 25th May 1992, short before Rio 92 conference. But this victory is now threatened by politics and gold miners. Almost 60% of Yanomami territory is covered by mineral applications and title deeds registered in the National Department of Mineral Production by public and private mining companies, both national and multinational. Some influent politicians from Amazonia as Romero Juca – are intending to change the federal law so they can open the Yanomami land to huge Mining Companies (different from the relative small scale of the actual Garimpeiros – gold diggers). This action would destroy the future of this people that live in harmony with nature. For the Yanomami, urihi, the forest-land, is not a mere inert space for economic exploration (of what we call 'nature'). It is a living entity, part of a complex cosmological dynamic of exchanges between humans and non-humans. As such, it today finds itself threatened by the reckless predation of whites. In the view of the leader Davi Kopenawa Yanomami: “The forest-land will only die if it is destroyed by whites. Then, the creeks will disappear, the land will crumble, the trees will dry and the stones of the mountains will shatter under the heat. The xapiripë spirits who live in the mountain ranges and play in the forest will eventually flee. Their fathers, the shamans, will not be able to summon them to protect us. The forest-land will become dry and empty. The shamans will no longer be able to deter the smoke-epidemics and the malefic beings who make us ill. And so everyone will die”. Following 2008 recession - the appreciation of gold triggered a new wave of gold miners activity, new prospectors ventured in the territory and so the pressure against the Indians returned. For the first time, the assembly of 2012 allowed encounters of delegates from all the Yanomami territory, including Venezualan Yanomami that suffer from aggressions and mass murders from Brazilian gold-diggers crossing the border.. The assembly discussed public policies, common reaction to face the gold diggers and farmers invasions, indigenous health, among other issues, with the participation of Brazilian authorities. (Source : www.socioambiental.org)

National issue, the crack epidemic hit all over Brazil and particularly its megacities like Rio de Janeiro and São Paulo and Brasilia among others If on the one hand, the federal government of Dilma Rousseff announces aid program and billions of investment, states and cities develop repressive policies at the edge of law and ethics - under the pretext to come help the weakest. Compulsive Internment is already happening for minors and forced detention is in debate for adults. What to do with the "cracudos" rounded up during raids ? The city of Rio has disabled its open centers, where junkies could choose to approach care delivered by real multidisciplinary teams. The "therapy" is now outsourced to so-called NGOs that are often opportunely created and which we found months later that one of these is owned by a former military policeman and member of the militia that controls swathes of the city, in the fast growing West Zone of Rio de Janeiro (as this "Institute Being a Child" then shown as an example of quality care for journalists by the City's press officers) The city can hide there their drug addicts, which locked up, won't disturb the wealthier. The money thus spilled to the "NGO's" is a wise investment as the paramilitary mafias that control the area also control the voters. Kids in detention are doped with sedatives and stuffed full of food. Psychiatric, social and family issues will not be solved by the confinement, which duration (some have been there for more than a year) is decided by non-professionals. Assignent for Le Monde.

Rio Waterfalls, 2001 - 2005. From a short distances from the beaches, Rio's rain forest offers waterfalls ("cachoeiras") where the Cariocas refresh, in their peculiar way to be in harmony with nature.

Between reminiscences of science fiction movies and lonely walks - things and machines that appear to have a life. Gazing at the transformation of raw materials between the old and the new World. Charleroi, Liège, Manguinhos, Sabará, Santos, Sabará, and the Painted Desert 1998-2000.

A night with Candy, Christine and Virginie in the town of Niort, France, in July 1998, when I was resident of their yearly "Rencontres de la Jeune Photographie Internationale (RJPI)".

A day with Candy, Christine and Fathia in the town of Niort, France, in July 1998, when I was resident of their yearly "Rencontres de la Jeune Photographie Internationale (RJPI)".

Selected tear sheets