A water garden in search of the painting that already existed before photography — water lilies, koi and the reflection of everything that cannot be held.
A pond, its aquatic plants, and the light shifting over the water — the same motif that occupied Monet for decades at Giverny. Here, the camera replaces the brush, but the question is the same: how much of the landscape is already, on its own, a painting?
Made in a soft sepia tone, the series avoids a documentary record of the garden in favor of compositions that lean toward the abstract — leaves, reflections and fish treated as patches of light on the water's surface.