Gilbert Garcin's work is a comedy in a hundred varied acts, as La Fontaine said of his fables, but without any accompanying moral; the images in which he stages himself are neither self-portraits nor chapters of a flattering imagined biography, each photograph instead standing alone, depicting a perfectly clear action in its unfolding and purpose, smiling at its protagonist's misadventures, every image marked by humour all the more effective for staying implicit, its climate always suspended between drollery and pathos, amusement and anguish, strangeness and absurdity, an ambivalence that lets Garcin's photographs intimately touch viewers who always find, in some way, an echo of their own concerns, correspondences with their view of existence, suggestive situations for their desires and frustrations.