Bevillard has an evident obsession with the lives of nomadic people and he frequently makes references to the distress caused by poor living conditions and being marginalised by the general public. The Mincéirs face discrimination from the locals and pressure from the Irish government to integrate into modern society. The high death rates and the prevalence of suicides among these people were the two shocking facts that aroused Bevillard’s attention to make this series. Bevillard sought ways to depict these conditions from his perspective, through the medium of photography. The artist’s relationship with photography has roots in a personal disability. Bevillard started painting and drawing after becoming deaf at a very young age. He turned to photography professionally in high school and later at university, but he found the opportunity to focus on photography in an artistic context after 1990. Inspired by photographers such as Alex Webb, Sally Mann, Henri-Cartier Bresson and Josef Koudelka, the artist tried out documentary photography. Especially striking are Bevillard’s images, which bear resemblance to the layers in Koudelka’s wide-angle landscapes. The Sally Mann effect can also be felt in Bevillard’s photographs of children, capturing them in instances where they appear like grown-ups.