The work is advertising. Most of it is fifteen seconds long, watched on a phone, in passing. It is made as if someone would stop and look.

It starts as photography — studio light, real objects, real faces — and refuses to stay there: direction, post-production, generative image and motion. The instruments change; the eye does not. What counts is the frame, never how the frame was made.

It is made in Paris, most often with The Social Medium. It ships fast, in series, in three formats at once, and is still expected to look like it took its time.

Once in a while it becomes cinema. Then it comes back to the fifteen seconds.