“(I have) the feeling that everything escapes us, that it’s necessary to fix what seems volatile to our eyes. I need to capture this volatile data in images, and then let it fly away again. It’s a way of understanding the world around us. The body is our way of being in the world, our physicality. It is without doubt the core of our existence, the one thing we can never doubt. Yet photographic images, with their contingeant, immaterial, even fictitious quality, would leave us doubting their very existence. The result is a burning need to bring images back into the realm of the sensible, to bring them closer to the body, to experience their materiality, so that they appear to us on the same sensitive scale as the body. In this way, we become one with the photographic image. This photographic work is a search for a certain embodiment of the image by the body, and a way of highlighting doubts about the materiality of the image as an object. It’s a question of going back and forth between what appears to be and what is. I move away from the body, only to approach it again. I’m constantly experimenting with different representational spaces. The body navigates between the different spaces that make up the image, giving way to a sensitive experience of the photographic medium.

Bodily matter and photographic matter enter into correlation. A material embodiment of the photographic image acts as a site for experimentation with the materiality of the body. The body becomes a printing surface, inherent to photography. Thanks to photography, the body is inscribed in a new, sensitive space. But how far can a body be forced to inscribe itself in a space that, a priori, does not belong to it? Thanks to photography, the body, now a photographic body, also becomes a passageway between us and the world of images. In this way, merging the body with the image through photography becomes a supreme aspiration. We would witness an incarnation of the image by the body, the body would make image, it would be image. It would become a body.”

Camille Brasselet