Bruno Réquillart's work begins with reportage that reflects the libertarian, activist spirit of his generation; his three years photographing Maurice Béjart and the Ballet du XXe siècle remain emblematic. His practice soon moves to the margins of document and commission to focus on daily life and familiar places, becoming conceptual, a matter of inventory and accumulation of supposedly insignificant subjects: the series called Constats shows urban elements such as shutters, advertising panels and tree trunks. "At the time I had a kind of bulimia for images, I took pictures but did not develop my negatives." This visual curiosity also reveals a personal history, an introspective return, a need to take stock. The enterprise stops abruptly in 1981, when he turns to painting; after almost twenty years without images, he returns to photography with a panoramic camera, photographing the landscapes of his childhood in Nord-Pas-de-Calais, the alleys of Pavia in Portugal where his painter's studio now stands, and finally Paris, scrutinised once more as inexhaustible visual material and enriched by countless forms and details observed on his wanderings.