I grew up in a bourgeois family where travel is sacred and where my parents’ curiosity for foreign countries is a never-ending race. By taking an interest in the report that my family has with Elsewhere, I also ask myself this question by asking myself, in general, where I stand, where I speak and where I photograph. This Western well-being complicates the reports of domination that persist in this exotic and erotic Elsewhere. Although the photos point to this violence in an underlying way, I use a certain benevolence and a certain humor in my aesthetics because they also define the relationships that I maintain with the members of my family. I explore the notion of exoticism in the perimeter of the garden of my childhood, in the South West of France, while putting it in perspective with the current modern context. I play and replay scenes that summon both a childlike imagination kept alive by memories, vernacular family photos, as well as references to art history (pictorial romanticism), but I also question more complex representations where the notions of cultural re-appropriation and domination are underlying, in particular through the accessories, patterns, colors and poses used. This lost paradise also serves, in a way, as an excuse in my relationship with my parents and relatives, allowing me to photograph what is close to me.