. Stéphane Duroy and Paulo Nozolino share a common requirement and distrust of capacity with regard to the capacity of the photographic medium to reflect the complexity of the world. A stripped-down writing, the refusal of the spectacular dimension, the economy of images are common features of the work carried out in Central Brittany by the two photographers. This work directly questions the “disqualified” parts of an identity shaped by representations and imagery most often relating to folklorism. The imprints of ordinary lives relegated to the margins tell us another “History”, that of a world which is silently disappearing, the legacy of a peasant society in the process of disappearing, thereby questioning the values ​​which govern our contemporary anthropocentric and “virtualized” societies. For this work in Central Brittany, the photographers surveyed a rural area dotted with increasingly large and fewer “agricultural businesses,” dotted with villages with bloodless social life. The images of Paulo Nozolino, with a density in the prints and a rigor sometimes tending towards abstraction, offer us in their continuum a reflection on the destiny of human societies. The absence of factual references to the location of the shooting also gives the work a dimension that goes beyond the strict geographical framework and goes beyond the limits of the space of Central Brittany. In Stéphane Duroy's photographs, the questions of time, the singularity of places and the importance of religious fact, even if it is testimony, are expressed in a more concrete way. Mixing black and white and color, Stéphane Duroy deploys his work in multiple writings, always with this desire to be as accurate as possible in this relationship to a reality whose unveiling is anything but obvious.