« The Drive End series questions the relationship between time and space in terms of a philosophical and anthropological perspective. The work presents an ageing cowboy in a car junkyard and an abandoned drive-in theatre. The landscapes recall the spirit and mystery of the “Far West”, illustrating the conquest of the Earth and its riches. However, they also set disenchantment of this dream, evoking the decadence of the great empty spaces of America. By means of the objective representation given to the images, the work calls upon the themes of spiritual emptiness and loss that we also find in classic road movies such as Paris Texas (Wim Wenders, 1984), Stranger Than Paradise (Jim Jarmusch, 1984) and Bagdad Cafe (Percy Adlon, 1987). Indeed, the work can be seen as a metaphor for life itself, perhaps its final outcome. A drive-in theatre screen with films no longer showing and dozens of rusting car bodies lying idle translates, with violence and lyricism, the interior vision of Man on the awful threshold of his ultimate destiny. From this atypical meeting of nature and creative imagination is born a sort of contemporary vanity, which reminds the disillusion of the American Dream - from the automotive industry to the cinema of Hollywood. The character of the cowboy is represented outside the screen, as if emerging from the cinematic image itself, as if the imaginary hero of a world similar to our own is being put to the test of time, and its own death. »     

Martin Beauregard, 2009.

« Le vieil homme fait face à l’incertitude du présent. Son regard est marqué par des éclairs devenus lointains et une douceur indéfinissable. Il se donne pour tâche de conserver la mémoire d’une façon ancienne d’observer le monde, d’en surprendre la force des traces élémentaires. Il convoque la légende cinématographique du cow-boy qui, étranger à tout découragement, n’a jamais escamoté les difficultés se présentant sur son chemin. Son seul bien, c’est son expérience. Le chaos est derrière lui, ouvertement offensif. Son déploiement général est programmé. Le vieil homme le sait mais ne veut rien céder. Il s’oppose encore à la rupture, cherche à saisir l’essentiel, à inventer des passages pour affronter avec lucidité et sérénité l’épreuve de la finitude. »

Didier Arnaudet - écrivain, poète, critique à artpress, 2008.