The computer-generated images posted on construction sites have inherited their codes from marketing strategies. It is not just about one product being sold, but also about the promise that a newly invented architecture or a new traffic plan can give birth to a new city with mainly white, female and fair-haired people, where contrasts are light and shadows, which are the symbols of doubt and uncertainty, reduced to a minimum. All that stands between the spectator and the project – trees, vehicles, passers-by and so on – is shown in transparency. It is a valueless representation of reality, devoid of dead angles and where people seem partially away from the set.
The Here soon series transposes reality from everyday city life into an aesthetic of computer graphics, which aims to showcase high-quality real estate projects. The presence of the local residents calls attention to their singularity, their paths, and their relationship with their surroundings. The frame leaves place for writing on the walls, laundry hung out to dry, abandoned objects, trash — everything that bears witness to a civilization that has left its mark on the place that it inhabits. The emergence of a concrete memory of places contradicts the universal and potential value of images. As it goes back to the past history of housing policies in the second half of the 20th century, the Here soon series points implicitly at the commonplace statements of a disembodied and dispirited architecture which is more and more cut out from the spaces in which it is supposed to take place.