In 1996, Yves Gellie began a series of trips to Irak. He travelled to almost every part of the Iraqi territory, and from 1999, pushed further to Syria and Iran. He slowly began to have doubts in front of the accumulation of visual documents reproducing the same stereotypes of a region hit by war, shot to arouse empathy and indignation. Gradually, Yves Gellie moved away from this conception of a concise image that is immediatly visible, loaded with the symbols of an event and an immediatly perceptible emotion.