The 99 story is emblematic of the theme of the glass screen, glass mirror. I love 
particularly the third photograph. It reminds me of a "mirror witch" from those that were found in Flemish painting. This is the window cracked a gear door where the landscape falls more as a reflection by transparency. Tight framing and cons-day make it a black frame. We guess the convexity, we see the grain: the plastic fatigued by the light, the halo dull the impact of the projectile which has cracked, scratches left by travelers all traces left on This funny membrane between inside and outside, between the immobile traveler who looks and the landscape (is) scrolled; on this space of desire through which the eye always goes; eye-door, door-objective which makes the car a black box. Photography continues to be staged, Here nesting dolls (the eye in the camera in the car), "what photography is the fact that we take a picture" (Denis Roche).
But this is only the last photograph. The first reminds me of a picture of Shoah (the staring human, train ...) The second, like a Natural History, tells me that while the insect is much as the landscape: the glass becomes opaque by the short depth of field and becomes coverslip where there.
The pace of three photographs based on the horizontal, vertical and round, the oblique the first free falls in the second photo (the rail) and settles down in the black frame of the mirror. The landscape cottage in the first two pictures (he lives in the starboard and port) is a ship-wagon, all motion, to freeze as the silvering of a mirror.
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