The works from the Élaguer les possibles corpus stem from both previously initiated research and multiple explorations of the photographic condition and the temporality of images. They demonstrate a particular interest in the notion of the material limit of photography, namely at what point the image ceases to be photographic and when it becomes so, and in the different surfaces sensitive to the traces of time.

Creating with new processes in his practice, while retaining methods that have persisted since previous projects, this approach marks a turning point in the creative process, welcoming the unpredictable nature of new materialities and, thereby, integrating new forms of affects into his works.