“People, lights. One could say that Sète is all about that under the eye of Anne Rearick. Quite simply, with the immense freedom that is hers, with the flexibility that makes her elegantly wander the square of her frame until she reduces, without limiting it, the space of her experience to this magic square because it is inexplicable.
Before talking about Sète, we must talk about this square, about this perfect and classical form which, generally, leads to very symmetrical, “balanced” compositions, which can quickly become conventional or give the feeling of dating and which implicitly refer us to the 1950s and to an anecdotal tradition of French photography.
And then there is this mysterious way of framing, of choosing one’s distance, which makes us perceive a right breathing, an indisputable distance, found without apparent effort, cultivating no “genre”, no “style”, confronting the world in order to benevolently take up the prints generously deposited in the form determined in advance. Sometimes the framing can be dry, it can be sharp, but it is never hard or violent. It can thus cut a forehead in two, which we will immediately forget because this mutilation offers us the grace of a glance, it can largely eliminate the body of a character but it will be to enhance the one who is close to him. Even radical framing is imbued with kindness, even tenderness. Empathy in any case.
This is where Sète becomes something else. Besides – but other photographers have already made us perceive it, albeit differently – that the city is full of singular characters, surprising faces, actors of their own everyday life, it reveals itself to be gentle.”