Venice
In search of classical beauty
Series 02 · Italy · 2026 · 9 images
The text
Venice does not speak through its faces, it speaks unasked, through its centuries-old stone, and it layers beautifully.
Venice speaks for itself. I went there looking for classical beauty, the beauty of the Renaissance, to bring a more architectural dimension into my practice, and I don't think I knew yet, when I arrived, what that meant. Venice does not speak through its faces, it speaks unasked, through its centuries-old stone, through its arcades answering each other from one bank to the other, its domes resting on the water, its façades that have seen so many eyes pass by that they no longer need ours.
And it layers beautifully. Perhaps because it is already made of reflections, perhaps because everything there is symmetry, repetition, echo, stone settling onto stone without breaking anything, the lines of one palace carrying on into those of another as if they had been drawn together. What appears then, between the two layers, is its harmony and its grandeur, more visible, I think, than to the naked eye, because to the naked eye we no longer look at them, we walk through them.
Faces are rare in this series, and that is deliberate: I wanted to see what the stone had to say when it is given all the room. I also wanted to learn, to learn what classical beauty, the beauty we are shown before we have even had a chance to see it, can still make us feel when we choose to look at it twice, and let it reveal itself through itself.
The hanging









The edition
This series opens on October 16.
Each image exists in thirty copies: twenty-five paper prints of 40 × 60 cm with a 1 cm white margin, three on acrylic glass shown in exhibitions, and two artist's proofs.
Each print is numbered, comes with its certificate of authenticity and is recorded in the print register.
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