These are inside views, taken in the absence of those who live or have lived there.  Whether they are charged with a family history or a total neutrality, as are hotel rooms, these places interest me for the order and disorder they reveal. Friends spare room, hotel room, precarious shelter, ruin, High Tech edifice or cathedral : They come under the same heading of necessity for me. From an emotional point of view, it is about a silent sentiment,   an intimate vide, an incomplete presence that we never confront as much as in the absence of something else. For the rest, it is all about a spatial game, made up of angles, sides and vanishing points, as in the Alberti* spatial box mode, with the necessary to indicate the horizon without actually showing it, with the necessary walls and floor to remind us where we are. Some of these interiors admit the temptation of escaping beyond the walls of the room, of the attraction towards infinity through the play of central perspective. Others concentrate on the interior as if everything is being played within the limits  of the room. It is much more about seizing reality as if it were a painting, just there, beneath our eyes and less about paying homage to Renaissance painting.

(*) Alberti is the theoretician who defined the Renaissance perspective rules in his book De Pictura, published in 1436 in Florence. He defined the role of painting as an open window onto the world.