That Hayat finds inspiration from such a charismatic film maker is not meaningless as the themes developed in both are equally powerful. I can’t help but interpret Hayat’s work differently even though we are bathed in that same ambiance of the woman’s condition, whose battles, struggles and challenges are expressed in a hyper tensive and nervous rhythm, tragic and practically underground.

Throughout his work, Yves Hayat opens or liberates a message by using, paradoxically, both given advertising codes and his artistic talent, to highlight the current and much needed and inevitable debate of womanhood in our society. He forces us to cast our eyes on powerful pieces that provoke us and whose subjects often raise deeply rooted and essential problems that are too often distorted, badly analysed of wrongly appropriated.

We can be tempted to find his work contrived but in reality, it is only the expression of the artist’s hypersensitivity. His relationship with the image, the demiurge game, as well as the technique he uses impose the question of the status of women. This is done without pretence but we feel a hint of criticism regarding the way we look at these issues today.

Despite all the luxury that they may wear or surround themselves with, it changes nothing to the tragedy of their condition nor to the war they wage. For them real peace is not possible.

All the women’s images presented here are a clear message that our world needs to be reinvented. With his unique aestheticism and the using the power of the image, Yves Hayat shows us how we really are. The pieces he puts before us, these images of chaos, make me melancholy because they force me to reflect on what want to give the Other in lieu of womanhood.