Photography is like any other visual art, except that it is multifaceted. From fashion to industry to the press, communication photography rolls out its subject, its verb, its adjectives and its complements. In this trivializing codification, it is totally integrated into our environment. Grégoire Paboudjian, on the other hand, invites us to do something quite different. A pedestrian in the city, free of all constraints, he declines his motifs in the manner of a Mondrian facing his canvas. First of all, shadow. His own shadow is often present, questioning his destination and opening up the field of introspection until it becomes the main subject. But what could be more virtual than the shadow? Grégoire Paboudjian has not yet solved the problem, which is why he insists on multiplying his self-portraits. Another field of his visual domain: graphics, not in the manner of Brassai, but in the evolution of stone engraving. As for Grégoire, he remains perplexed by this new language on walls, which constantly challenges him. He plays with urban objects, signs and their evolution. What preoccupies him most is the spatial order of his images, cutting out pieces of reality from the city that become so many rigorous constructions, leading us to reflect and escape. To enter an image by Grégoire Paboudjian is to enter a world of matter and elements, to go through the looking glass. Robert Pujade