Broadway mosaics The Broadway project is the story of my unexpected immigration in the United States of America, At the time, I lived in Paris were I was leading two photography projects for underprivileged kids along with a program of non-violence discussions in the hottest suburbs of Paris. In June 2006 I took a flight to New York for a well-deserved five days vacation. In that plane, I talked with my neighbor, a French born New Yorker. He was fun, cute and probably gay. One year later, I found myself taking the same plane to meet with the not-so-gay French New Yorker I had met in the plane and who, since then, had become my boyfriend. The plan was to live together for a few month to check if living the real life suit us as well as rejoining in London, Prague, Paris or Miami for a stolen love weekend like we had done over the past year. As soon as I arrived at immigration, it became complicated: the officer claimed that I had over-passed my visa waiver authorization and after an hour interrogation decided that I could enter New York that night but would not be allowed in the country next time. That’s when I understood that if my lover and I wanted to enjoy a piece of life together, we would have to fast forward things a little. None of us were ready or even really wanted to get married, but it seemed like it was the only solution for us to start a life together. The lot that came with that anonymous marriage where I knew only my groom was the perspective of a year or more of illegality in the US before we could prove to the USCIS that we were two honest and right people, married for love and willing to share our energy and contribute to the growth of the City. It could have been simple. But off course it wasn’t. I wasn’t ready to be married I wasn’t ready to be illegal I wasn’t ready to be sick I wasn’t ready to embrace New York I wasn’t ready. And all this made me deeply angry. This project was shot in three full days during which I walked up Broadway, from Bowling Green to Inwood. I used a Holga camera loaded with 120mm film rolls. All images were shot directly in camera. The films were developed in the darkroom and then scanned so as to exist in digital form.