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This series of photographs was inspired by Honoré de Balzac's book Voyage de Paris ŕ Java first published in 1832. It is the imaginary account of a journey to Java, with amusing and shameless accounts of the beauty and allure of it's woman, nature and customs, closely aligned with the already widespread stereotypes of the time. Balzac delights in this armchair travel of the mind, of fantastic truth or forgeries as he puts it, and it is precisely this ambiguity between fact and fiction that is so inherent in the nature of photography. This body of work treads the same line between invention and reportage.
This series of photographs was inspired by Honoré de Balzac's book Voyage de Paris ŕ Java first published in 1832. It is the imaginary account of a journey to Java, with amusing and shameless accounts of the beauty and allure of it's woman, nature and customs, closely aligned with the already widespread stereotypes of the time. Balzac delights in this armchair travel of the mind, of fantastic truth or forgeries as he puts it, and it is precisely this ambiguity between fact and fiction that is so inherent in the nature of photography. This body of work treads the same line between invention and reportage.
This series of photographs was inspired by Honoré de Balzac's book Voyage de Paris ŕ Java first published in 1832. It is the imaginary account of a journey to Java, with amusing and shameless accounts of the beauty and allure of it's woman, nature and customs, closely aligned with the already widespread stereotypes of the time. Balzac delights in this armchair travel of the mind, of fantastic truth or forgeries as he puts it, and it is precisely this ambiguity between fact and fiction that is so inherent in the nature of photography. This body of work treads the same line between invention and reportage.
This series of photographs was inspired by Honoré de Balzac's book Voyage de Paris ŕ Java first published in 1832. It is the imaginary account of a journey to Java, with amusing and shameless accounts of the beauty and allure of it's woman, nature and customs, closely aligned with the already widespread stereotypes of the time. Balzac delights in this armchair travel of the mind, of fantastic truth or forgeries as he puts it, and it is precisely this ambiguity between fact and fiction that is so inherent in the nature of photography. This body of work treads the same line between invention and reportage.
This series of photographs was inspired by Honoré de Balzac's book Voyage de Paris ŕ Java first published in 1832. It is the imaginary account of a journey to Java, with amusing and shameless accounts of the beauty and allure of it's woman, nature and customs, closely aligned with the already widespread stereotypes of the time. Balzac delights in this armchair travel of the mind, of fantastic truth or forgeries as he puts it, and it is precisely this ambiguity between fact and fiction that is so inherent in the nature of photography. This body of work treads the same line between invention and reportage.
This series of photographs was inspired by Honoré de Balzac's book Voyage de Paris ŕ Java first published in 1832. It is the imaginary account of a journey to Java, with amusing and shameless accounts of the beauty and allure of it's woman, nature and customs, closely aligned with the already widespread stereotypes of the time. Balzac delights in this armchair travel of the mind, of fantastic truth or forgeries as he puts it, and it is precisely this ambiguity between fact and fiction that is so inherent in the nature of photography. This body of work treads the same line between invention and reportage.
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This series of photographs was inspired by Honoré de Balzac's book Voyage de Paris ŕ Java first published in 1832. It is the imaginary account of a journey to Java, with amusing and shameless accounts of the beauty and allure of it's woman, nature and customs, closely aligned with the already widespread stereotypes of the time. Balzac delights in this armchair travel of the mind, of fantastic truth or forgeries as he puts it, and it is precisely this ambiguity between fact and fiction that is so inherent in the nature of photography. This body of work treads the same line between invention and reportage.

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This series of photographs was inspired by Honoré de Balzac's book Voyage de Paris ŕ Java first published in 1832. It is the imaginary account of a journey to Java, with amusing and shameless accounts of the beauty and allure of it's woman, nature and customs, closely aligned with the already widespread stereotypes of the time. Balzac delights in this armchair travel of the mind, of fantastic truth or forgeries as he puts it, and it is precisely this ambiguity between fact and fiction that is so inherent in the nature of photography. This body of work treads the same line between invention and reportage.