Born in Algeria, Mohamed Bourouissa studied art and design at the Sorbonne in Paris, France and developed a unique perspective on that focus on the problems of immigrant men living in France today. His solo show "Peripheries," currently on view at the Yossi Milo Gallery, focuses on the various experiences of racism that African men continue to face throughout the suburbs of Paris, France.

“Le cercle imaginaire,” (2008) portrays a hooded youth standing at the center of a circle that is surrounded by fire, signifying a phase of gang initiation. In another photograph titled, “La fenétre,” (2005) two dark-skinned men stand in front of a bright green wall and tensely face each other. Is this a coach giving advice to his boxer? Or is this the middle of an argument that will lead to a physical fight? Bourouissa embraces the unknown in his work and captures the chilling effects of one-upmanship that occurs either at close range, as seen in, “La téléphone,” (2006) or more publicly as portrayed by “Périphérique.” (2007)

Although these accounts of racism are conceivably true, the photographer elaborately staged the content for each image. Despite the fact that Bourouissa was not capturing actual, historical events that randomly unfolded before his camera, this group of photographs function as metaphors for the reality that any city, no matter how free or diverse it claims to be, carries its limits that conform to the demands and desires of the status quo.