Looking at her work can be a meditational experience during which one suddenly becomes aware of a profound pictorial and spatial intelligence in the adjacencies of color and form – a spontaneous intuition that not only exists prior to any shot that will be fortunate enough to be consigned to history but also marks the coming to light of inchoate words in the poet’s hand. […] I click and click and click and so on…[…] she whispers, almost out of breath, in “Contacts”. Her work appears so closely tied to the written word and the way poems have always tried, since ancient times, to compensate for time privations and elisions that one can’t help but pausing to carefully scrutinize the connection. A myriad hints will follow shortly after to open our eyes on how the most diverse arts truly coexist, blend together – every now and then slipping into areas of disappearance and making it more difficult for us to disambiguate – and eventually, one day, burst forth in terrific synthesis.
By compulsively skirting around a memory, click after click, word after word, loss after loss, an entire spectrum of repetitions and little variations on the same theme are condensed in quasi-instantaneous views of realities that unfold beautifully before our eyes. Far from coming down to a mechanical modus operandi, repetition works here as a powerful trigger for activating a process of “vitalization” by which all those soft and eerie creatures inscribed within the frame become progressively more alive, more animated and blithely more eager to retake their positions onto the stage and restart their fêtes galantes after a pause lasted centuries.
Being incredibly suggestive of old photographic techniques for manipulating the surface, her works could be seen as compelling late examples of “Pictorialism” – a style that held sway through much of the later 19^th and early 20^th centuries and championed photography as a medium as creatively expressive and artistic as that of painting. Following the thread of a long-standing debate around the artistic status of this medium, she seems to be pulled back into the cycle of history, to its beginnings, its dawning, when mortals still indulged in fantasies of plenitude with the gods and a language of mysterious and alluring correspondances was common among them.

Interview:

In your quest for beauty and emotion, you often questioned the status quo of reality by mystifying it. In this sense, the reconstitution of a memory as pure fiction might stand for a way to mend the gaps and make a conscious rejoinder to what is always left adrift in the moment. Some say that memory is nothing but a figment of our troubled imagination: anytime we are trying to remember something, we are somehow creating it anew. Do you agree?

I don’t know if I mystify reality, but I know I drawn the fish… I erase what situates it by making it nowhere or everywhere, timeless they say.
It is true I recognize at the same time as I discover whatever I photograph. It is probably either forgotten or imaginary memories which find an echo in reality.