“In Looking for Cindy and the Palindrome series, I find Thomas’s work particularly interesting. Filming the “living spectacle” has always been a delicate exercise. Thomas does not take part in the exercise; he creates a quite separate object, which firmly distances itself from its source, whilst speaking of it. When he filmed Pouliche  by Manon Oligny and Claudio Stellato’s movements, it is neither a transcription, nor a documentary. He seeks to create a personal relationship with the performer, the body and movement, etc. The camera is highly present: the various angles of the shots, the fourth wall and breaks in style are accentuated by a video editing that creates a score made of key moments. I often see teasers of shows that ultimately only speak to me of the difficulty involved in filming the stage. Thomas on the other hand is not concerned with the stage work as a whole. He does not seek to transcribe it. Far removed from a critique or some kind of account, he creates a new corpus, a new material which he uses to create a complete and distinctive work of art.(…)”