"For the past fifteen years, Guillaume Zuili has been roaming Los Angeles where he has now settled. He makes incessant crossings there, it is also a journey through time as he has been able to undertake in other cities of the world that he likes to translate into optical and chemical games. Experimental effects are for him a language inherited from the avant-garde tradition and the means of raising impressions to the rank of mental images.
By working with a pinhole camera (a camera without a lens), by drawing on vintage papers (without a development accelerator), precisely to be able to use the mythical lith developer which contaminates the paper and leaves its own imprint on the image, Guillaume Zuili follows a chain of operations which brings him closer to the alchemist. The result is an aesthetic of the relic with amber and mineral prints presenting the modernist motifs of the city become a prisoner of time. All this gives you the feeling of discovering a buried treasure, a failed library. "

Here we have all the mythology of America, its futuristic architectures and its famous "vernacular", its cowboys and its pin-ups, its cars and its sign lettering. But everything got mixed up in the imagination as in a photographic substance. Let us add a reference that comes to mind in front of this way of conjugating time in the photographic image: Los Angeles has trained in photography the one who knew how to marry photography and painting - we think here of Ed Ruscha whose conceptual photo books answer with large sign paintings and its famous gasoline stations. This artist transformed the signs of the modern into vestiges, and what is more by giving the appearance of photography to his paintings as Curtis in the Pictorialist era gave his photographs the charm of engraving. Zuili participates in this aesthetic of the craftsmen of the American myth, finding in the mixture of genres the fuel of a time machine. "