Through the Simulacra series, I began investigating Jean Baudrillard’s theory of Simulacra and Simulation in the world we live. His idea that we all seek to produce meaning, to make the world signify, to render it visible: ‘we are not, however, in danger of lacking meaning; quite the contrary, we are gorged with meaning, and it is killing us’. In a series of large formats tableaux (50”x 40”, 127cm x 102cm), Simulacra are an imitation of life, dark in tone, cinematic, and the mise en scène ambivalent: closer inspection reveals discordant details, creating a question that calls for a new narrative. Associated to the images are large blocks (12.6” x 9.4” x 3”, 32cm x 24cm x 7.6cm, or larger) of clear epoxy encasing various objects: a plastic flower, a broken bottle, a hammer, a burned bible, etc. Each encased object is also present in one of the tableaux. The staged photographs and epoxy encased objects are linked, telling a story from different angles. Each seems to question the relation with the other, and which one is closest to the construction and preservation of shared experience. Each carries individual projections. Referentiality is removed although we still understand what we see. Combining sculptural forms and photographs with painterly references creates both a sense of familiarity and disconnect: what are the connection with current issues and what is the meaning of representation? What is the relationship between the literal and the imaginative? Simulacra are iconographic visions, both archetypal and artificial, with thin boundaries between reality and simulated life. The photographic simulacrum explores the boundaries between reality and fiction, emphasizing the connections of the simulated reality to our daily lives.