This opus is part of a reflection on the status of the image and its future in the light of its dematerialisation. I draw a thread from a photo and an exercise that was born with the generalisation of photography in the 20th century and taken up by Richter: using existing images as material for painting, freeing this image from its initial intention and showing something else through the implementation of a specific process.
Road life implements a double paradox: at once an inventory of my history and a rewriting of it, a questioning of a modality of representation, the becoming of an image and its transfiguration by recycling into a figurative object.

The passing of time makes the common photo (holiday, family, souvenir) an open door to fiction. By freeing itself from the cause that gave birth to it, I open the field to another story. Contemplating these clichés from another time, taken by myself or my relatives, I am seized by the "I is another". My history, that of my family and friends and finally, that which is written between them and me over the course of events and places are then summoned: a trajectory which, through this retroactive look, is rewritten: what was, is no longer...
By recycling these small remnants of history I metamorphose the past, I change its status, like this medium which, from being banal, by disappearing (we no longer print our souvenir photos printed, they lie in our phones and tablets) operates a change in value.

The non-aesthetic image and its caption, pure memoranda, are integrated into an aesthetic pictorial montage where the issue of the gesture of painting appears, writes a non-story and produces a new object.