Brest-Paris-Brussels-Cologne-Warsaw-Brest (Belarus)-Moscow-Novosibirsk-Krasnoyarsk-Irkutsk-Chita-Vladivostok 2003
In the spring of 2003, I traveled by rail in three weeks from Brest in France to Vladivostok in the Russian Far East. This linear route from the Atlantic to the Pacific represented for me the link between two cities which meet from one end of the continent to the other. This rail advance towards the east was a subjective search for the marks of an imperceptible passage through Asia, but also the means of provoking the encounters inherent to the journey. The journal “Brest-Vladivostok”, combining chronological narrative and photography, was born from my desire to reflect the diversity of human contact, and my approach to these rapidly changing countries.
The Trans-Siberian railway carriage, comfortable, small, intimate, in which travelers often spend several days to reach their destination, is a living space that encourages bonding. Taking this train alone which fuels the desire for a change of scenery was both an initiatory journey through Asia and a headlong rush to the limits of confrontation with the “unknown”.
In the spring of 2003, I traveled by rail in three weeks from Brest in France to Vladivostok in the Russian Far East. This linear route from the Atlantic to the Pacific represented for me the link between two cities which meet from one end of the continent to the other. This rail advance towards the east was a subjective search for the marks of an imperceptible passage through Asia, but also the means of provoking the encounters inherent to the journey. The journal “Brest-Vladivostok”, combining chronological narrative and photography, was born from my desire to reflect the diversity of human contact, and my approach to these rapidly changing countries.
The Trans-Siberian railway carriage, comfortable, small, intimate, in which travelers often spend several days to reach their destination, is a living space that encourages bonding. Taking this train alone which fuels the desire for a change of scenery was both an initiatory journey through Asia and a headlong rush to the limits of confrontation with the “unknown”.