Between November 2005 and May 2008, François Cheval, chief curator of the Museum Nicéphore Niépce, in France, supported the work of Antoine d’Agata by taking risks not so common coming from a recognized institution. During that period, the photographer documented what he experienced, the moment he experienced it, in Cambodia, Syria, Mozambique, Turkey, Japan, Australia, Spain, Brazil, Congo, Thailand and Czech Republic.
Antoine d’Agata kept shooting without ever looking at the images thus generated, for years at a time, which gives that body of work incomparable reality. The photographer was carried away by a whirlwind whose consequences and risks he did not know. The choices were unconscious, but the obsessions were the same: sexuality, fear, darkness and death, through ordinary or extreme situations.
In fact, over the course of more than two years, d’Agata sent 1534 unprocessed rolls of film to the Museum where the material was processed into contact sheets and archived. But in the specific contact sheets reproduced in Amoeba, that were shot between 2006 and 2008 in Tokyo, the quantity and scale of images brings the excessive nature of that photographic experiment to a degree of abstraction inedit till then in Antoine d’Agata’s trajectory.