. . . . . . . . . . . . . . . . . . . "Laurent \u00C9lie Badessi, n\u00E9 en 1964 \u00E0 Avignon, est un photographe fran\u00E7ais bas\u00E9 aux \u00C9tats-Unis. Il utilise la m\u00E9thode de la \u00AB photographie n\u00E9goci\u00E9e \u00BB de Michel S\u00E9m\u00E9niako. Il est remarqu\u00E9 par la Bourse du talent 2017 pour sa s\u00E9rie \u00AB L'\u00C2ge de l'innocence \u00BB."@fr . . . . . . . . "Laurent Elie Badessi"@en . . "Laurent Elie Badessi (born November 27, 1964 in Avignon, France) is a French photographer and artist based in New York City. Badessi frequently uses symbolism, mythology, and historical and cultural references in his work. The study of trust that develops between the photographer and the sitter and the exploration of the power of the photographic medium on people, are both fundamental vectors in his artistic quest. His photographs often addresses subtle and relevant questions on social, political and cultural issues, such as the relationship with nudity, religion, the environment, war or the fragility of life. He is a fourth-generation photographer."@en . . . . . . . . . . . . . "1111748104"^^ . "Laurent Elie Badessi (born November 27, 1964 in Avignon, France) is a French photographer and artist based in New York City. Badessi frequently uses symbolism, mythology, and historical and cultural references in his work. The study of trust that develops between the photographer and the sitter and the exploration of the power of the photographic medium on people, are both fundamental vectors in his artistic quest. He is a fourth-generation photographer."@en . "41248803"^^ . . . . . . . . . . . . . "19682"^^ . . . "Laurent \u00C9lie Badessi, n\u00E9 en 1964 \u00E0 Avignon, est un photographe fran\u00E7ais bas\u00E9 aux \u00C9tats-Unis. Il utilise la m\u00E9thode de la \u00AB photographie n\u00E9goci\u00E9e \u00BB de Michel S\u00E9m\u00E9niako. Il est remarqu\u00E9 par la Bourse du talent 2017 pour sa s\u00E9rie \u00AB L'\u00C2ge de l'innocence \u00BB."@fr . . . . "Laurent \u00C9lie Badessi"@fr . . . . .