S.L_ You were talking about Prague earlier on, about the fact that you hadn’t been able to take pictures because everything was codified, too recognisable…
    C.A_ Too visually uniform, too “historical”. I’d say I’m more into modernist constructions, really simple shapes, lines, structures, geometry, a kind of abstraction and of matter. When it’s too reassuring, too ornamented, too meticulous, too used, then it becomes a cliché, a postcard. Consequently, it becomes more difficult to decompose, because the elements are so recognisable that I can’t deconstruct them. Then, everything is related with the same spirit, nostalgic, anecdotal, “charming”, like Paris or the centre of Warsaw which was completely reconstructed on its former model. I didn’t spend more than two hours in the centre. Because I knew everything was fake, it reminded me of a fictionalised model.