From pinhole cameras to scanning electron microscopes, from spy cameras with automatic detection to traditional large-format film cameras, whether using archive material or borrowed items—definitely more incisive than decisive—Erwan Fichou explores the possibilities of the photographic medium. Whether working on commissions for the press or the music industry, collaborating with artists, creating advertising or pursuing personal research, he likes to apply the same serial mechanism—one that has been thoroughly tested by the medium for its ability to organise and classify reality. ‘In Fichou’s work, this model of rationalism, applied to the most unusual objects, brought together by a deeply hidden logic, provokes interesting dissonances. The series does not attempt to impose order on chaos; it expresses the futility of the endeavour to represent and index reality. With the exquisite corpse unfurled, the series arranged side by side, the arbitrary logic that seemed to be his own reveals the thread that holds him. What Erwan Fichou quietly presents is a collection of manifestations of ordinary madness – as expressed in the most marginal forms of popular culture – so many false notes on our inexorable journey towards the credits.” Raphaelle Stopin.