The photography of the graffiti and the posters torn in the streets seems to start with Brassaï which thinks of transitory testimonys of the street.

This step continues with the new realistic ones as Villeglé which adapts takeoffs D posters of the streets in the Sixties

With the origins the purpose of these objects are to give information, to challenge the regardor like does it publicity. These traces evolve/move slowly. They become painted graffiti, painting with stencil key set, trace with chalk. All that mix accidentally with the posters stuck on the palisades or other support.

This series of photographs that J calls “urban joinings” brings back some one of these traces of information which one can observe. Often the torn small poster cohabits with a graffiti, is superimposed with another poster. Signposts are used as support with papers stuck randomly and torn off, but which remain in the form of traces.

With their support which can be a wall but also dustbins, sign traffic or palisades of outcries, the whole of stuck papers, the painted signs, takeoffs are tallied by the camera. Photography keeps the traces of these unimportant objects called to disappear.