Thomas Klotz addresses the theme of adolescence and the anxieties that come with it, by referencing his twelve-year-old daughter. Devoid of narrative dimension, this implicit portrait takes shape through anonymous images, "punctuation exercises," where walls, volumes, materials, voids and shadows are all surfaces of projection, silent commentary. 
In counterpoint, the full-length photograph of the young girl, with her eyes pointed at the objective, marks a frontal return to the human figure in the artist's work, which still tends toward a sort of pictorial abstraction. This portrait combines a certain number of visual reminiscences, incarnating, more or less cryptically, what underlies each image: attributes of childhood, resurgence of the floral motif and of the color yellow, golden, which, from a certain, metaphorical point of view, refers to the ephemeral character of nature and, by extension, to this transitory age "Nature's first green is gold, Her hardest hue to hold. Her early leaf's a flower; But only so an hour.". Thomas Klotz speaks of "secret passages," "ghosts": the variety of scenes portraits, landscapes, cityscapes, interiors finds its coherence in these mysterious affinities, these underground connections, which are in fact specific to the adolescent world.