What does she mean by showing, developing, exhibiting, editing? That a picture is better than a long speech? That a snapshot has a lasting value? It is surely much more complicated. In Korea, in Ile-de-France or in Deauville, it is always very difficult to photograph intimacy. She doesn’t rush to her camera, she listens and makes people talk about their lives. During this time, her eyes, like a scanner, locate the future shots and measure the light. Then she asks if she can go to the bathroom, an intimate place that always tells the family story: photos, newspapers, toilet paper. On her way out, she asks “innocently” who is the little boy in the picture, the brand of toilet paper… and there it is the sesame, she is offered to visit the apartment. She manages to photograph the wardrobe, the owner in her bed in her nightgown or in the shower. This is an investigative technique that she obviously did not have when she started photography.
Over time, Françoise Huguier has undertaken to tell the story of her life by looking at the lives of others (…) But, as an exciting paradox, it is perhaps when she is closest to an autobiographical model that Françoise Huguier distances herself from it the most.
Gérard Lefort, critic