She held the dorado firmly by the head with one hand and rubbed its silver skin vigorously with the other. The white silhouette of her body remained motionless. Her face, impassive. But her right arm kept moving back and forth. This gesture evoked a boxer finishing his enemy with his fists. The fight was unequal and won in advance. From this second killing, a thousand silver splinters flowed out of the condemned fish. These marine droplets marked the immaculate space of the kitchen with small gray spots like so many ink stains on the white sheet of a writer in struggle with his pen. As if that wasn't enough, and to avoid any possible doubt, she had to cut off the animal's head. After having promptly decapitated and eviscerated it, she still had to separate the flesh from the skeleton. She managed to do this in a few elegant and supple gestures. To perfect the gesture, she only had to extract from the flesh the few tapered teeth, delicately aligned that are the bones. Then coldly, with a sure gesture, she pushed all the waste into the open mouth of the garbage can. Heads, entrails, skeletons and bones filled the insatiable monster deprived of all these animal attributes.

"DISPOSABLE" bears witness to that crucial time interval in the world of catering; the time between the arrival of the dead animal in the kitchen and the moment of its metamorphosis. At the end, the animal is so altered that its original form has completely disappeared. Only geometric and abstract forms remain. Sublimated in this way, we forget the origin of what we ingest.

My interest is not in the finished and perfectly set plates, but rather in what we would rather not see: the dead animal and those whose task it is to transform it. These raw images bear witness to what has been. Close in aesthetics to forensic photography, they desecrate the magical moment that is the arrival of a dish but pay tribute to the animal and the workers.

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Work carried on in 2016/17