Because he started skateboarding in the late 1980s, Pierre Descamps cannot help seeing the city and its forms as an infinite playground. He started taking photographs of architectural spaces that skaters could use in 2006, and soon realised that his pictures recall specific codes of skateboarding photography: their focus, lighting, and perspective are arranged to magnify the space where the action is taking place. Although the figure itself (people, cars, etc.) does not make an appearance in his images, the shadow of its presence lingers. ‘Monuments’ reflects a well-defined, geometric focus;

a portrait that emphasises the formalism of urban constructions and objects the city.

皮埃尔·迪桑（Pierre Descamps）从20世纪80年代末开始玩滑板，他不禁把这座城市和它的结构想成一个无尽的游乐场。2006年，他开始拍摄滑手可以使用的建筑空间，并很快意识到这些照片能让人了解滑板摄影的特定设置：焦点、灯光和视角的安排是为了放大正在发生行动的空间。虽然他的图片中没有出现人或车等，但其存在的印象却挥之不去。本书反映了一个定义明确的几何焦点；是一幅强调城市建设和城市设施的形式主义风格的肖像。