The work of Between the Dog and the Wolf came to me, like so many things in photography, as a simple, fleeting observation that penetrated my consciousness and, in that flash of recognition, expanded into something that seemed to me then as if it were a real idea. That the idea of ​​swimming pools (the dog) at the edge of the sea (the wolf) could be a theme was a true awakening. And then, upon learning that the French have a name for the Blue Hour, which they call Between the Dog and the Wolf, I immediately planted in my mind the dual potential of that time of day when the late afternoon light makes things difficult to see, and sometimes simple, innocent things pick up traces of another aspect of the spirit or personality. This subtle shift from the known to the unknown, from the domesticated to the wild, became the underlying idea from which these works emerged.