In an apartment in New York, a still camera faces out the window from the room. The facing building has regular windows on the wall. When the wind blows, a paper flaps intermittently and crashes into the window before disappearing. That's it. In the same short and long frame, wind and light bring changes. When the evening comes and the light disappears outside the window, the image outside the window also disappears and the reflected image of the artist appears instead. Welcome does not create images to say something, nor does it connect them. In other words, neither mise-en-scène nor montage are pursued. We simply find the image that the correct frame and duration have created. Jean-Claude Roussea now frees the film from the bondage of representation. All that remains is the act of discovering and seeing itself, as well as the imagination and thought it triggers.​