Press photographer (he works part-time for a daily newspaper), Steeve Iunker tirelessly questions the role(s) of photography and of the image in the fields of information and documentary today in a radical and political way. What’s the point of being aware of everything happening in the world – at least potentially – when we like to think we are in the immediacy of transmission? What’s the point of promoting the fixed image? How can we find our place in our history, in our stories? Which mechanisms can we set, from the shooting to the shapes and the use, to be if not right, at least relevant? These are the basic questions which establish and weave a constantly evolving work, set out to precisely design its duties, its relationship to the text, its principles (or absence) of narration, its menace to the glance, to voyeurism, to convention. It is also a work which aims to get close to the taboos relating to the body, to sex, to death and to the standard social conception of big issues that affect human thought. Either he stays with an Aids patient in the terminal phase, he represents the professional life of an old prostitute, he confronts himself with the crisis in Gaza, he stores images of celebrities adorned with diamonds at Cannes Festival, discovers the backstage area of a fashion show, follows the police while investigating on crimes, or reveals the astounding world of plastic surgery, Steeve Iunker doesn’t chase icons. He shows. In a realistic, free and salutary way. Even if it might seem provocative or shocking. He only wants us to agree to see. To be responsible and clear-sighted.