Time is thinking about how is it possible to show or not time with photography.
It's a reflection about medium and picture : how a fixed picture can describe time flowing, what about the reality we are seeing ?
So Time is experiences of differents processus. From each of them, we will be able or not to find conclusion.

Up and down : In this case, we can't recognize who is who in this people. This is due to the processus, which measure presence time of people at a precise place, never mind if it is one individual or more who stand at the place.

Business time : Business Time
Unlike "Up and down", it is important here to recognize persons. It is useful to track differents behaviours.
This processus create illusion effects, as we can think that people from the second floor and the fourth floor cross the way at the same time.

The sun will never sleep : In this picture, the assembly let us have an idea of the duration of the scene. At the same time, we lose our visual marks and we can't be sure of the top and the bottom of the picture.

Time Bunch : First try to study evolution of body through the time. With this picture, I try to catch a "passive" movement, a movement which not come from the subject but from the time itself..

African Erosion : The time presented here is an imaginary and symbolic time, in the service of a speech. The shown time is shorter at the same time in its reality than the time required to alter the grape (which would moreover have had quite a different aspect that that presented here) and longer in its imaginary appearance because it represents a few centuries of African vicissitudes.

Pear, in memoriam : This time sequence is reconstructed, to seem to a continuous, fast process. At the end, it will stay only the polaroid, which last also less than the picture you watch.

The snow globe : Seemingly, we can see this image as the almost film sequence of the snow falling in a snow globe. Except that the sequence can be read from left to right, but also from top to bottom, or from the high left corner in the low rightcorner. It cannot thus involve a single sequence, nor sequences put end to end. It is not any more a question a time which spend by but of visible time reconstituted from samples of 8 differents sequences. We find here quite the same principle which makes that the wheels of the diligences turn back to front in the cinema.
We can see there the limits of the photography as a proof, or a way to manufacturing a poetic time out of real time.