Christian Raby used in "Venus d’ailleurs: migrations et identités rêvées” (they came from elsewhere: migrations and dreamed identities) an original and somewhat outdated device: the painted decor. In front of two painted sets - a church and a castle set - the photographer asked several migrants or families of migrants to stage themselves, thus reproducing the photographic studio at home, the laboratory in which dreamed-up identities were constructed. This rather solemn bias gives the photographer the opportunity to image the multiple identities of migrants thus placed in majesty. Each portrait is accompanied by a short account of its history.

“Migrants and their children become neighbors, friends, relatives. I met them in my entourage, in the street, in their business, in faith-based or cultural associations, in support networks for asylum seekers or even in the high schools they attend. Coming from elsewhere, they inherit their culture of origin and become accustomed to French customs. In front of the painted decorations that I transported across the country, I asked them to stage themselves in their dual belonging. During a recorded interview, everyone told their story. The texts that accompany my images are the echo of their voice presented in a short story.” – Christian Raby