Etymologically, “doppelgänger” is the German word usedto describe the double of a living person. It comes from “doppel”, double, and “gänger”, walking.

At times, we dream about living other lives and the world of film allows us to temporarily escape our own reality and gives us the opportunity to feel as if we were other people.

I am fascinated with the actor’s doppelgänger, his ability to build his character as a part of himself, only to then shape it with elements and experiences drawn from his own investigations, even crossing the line between simulation and reality. The more I wonder if what I see on the screen is not the product of a performance but rather of reality the more I become fascinated by the capacity of the method chosen by the actor to make me forget that it is a performance.

I am impressed and terrified at the same time thinking that, in the midst of a creative process, we are moving between reality and madness, driven by an obsession with total immersion, the lack of an objective reality and an intense dedication. This might be the only key I can understand when it comes time to face my collections and the concepts I try to symbolize. Perhaps that process is in itself a real attempt at Doppelgänger.