Mille-Feuilles

Mille-Feuilles explores bi-national identity, inherited longing, and imagined belonging through layered photographs made over a decade. It reflects on identity as fiction, where images hold desire, absence, and the fantasy of a home that never was.

Mille-Feuille is a layered photographic project that brings together two cycles of images developed over nearly a decade. Each of these chapters stands on its own, but their convergence reveals a broader, more intimate and political movement, one of fragmented and mobile identity in constant tension between here and elsewhere, the visible and the absent, anchoring and loss.

This project was born from a need to reconnect the different threads of my trajectory, both geographical and internal, France, where I was born, Morocco, where I grew up intermittently, and the many places I have crossed, both real and symbolic, which have left imprints on my gaze. It is a journal of images, but also a journal of perception, a mille-feuille of emotional layers, affective clues, visual silences, passages and shadows.

The two chapters that compose this project, When the sun turns black and Suzanne, long road respond to one another through subtle shifts. One explores the strangeness of daily life, solitude and desire through placeless locations, the other questions family memory, migration and bi-national identity through an intimate journey across Morocco and France. Together, they raise the following question, how can one build a visual home when tangible landmarks are missing, how can the image become a territory, a refuge, a threshold?

Mille-Feuille is neither a linear narrative nor a classical documentary series. It is an attempt to map the trouble of vision, of origin, of emotion. Each image is a fragment, a layer of memory or imagination, that seeks less to tell a story than to open a space for projection. Through this project, photography becomes the site of a fragile weaving, between disappearance and desire, between what is unseen and what insists on emerging.