In these steel tanks, one can observe a silver print corroded by its very material. The silver halide solution, which constitutes analog photography, activates a metamorphosis through destruction.
A fountain of absinthe activates the piece: the choice of object evokes intoxication, evanescence, and also nods to the choice of images: snapshots taken in the euphoria of the night.
"ça monte pas, est-ce que c'était la bone dose?", (or "i don't feel it, was it the right dose?" in english) becomes a reservoir of multiple temporalities and rhythms. I find the temporality of the snapshot but also of chemical reactions, from development to oxidations, to evaporation. We witness a riot of colors, of living matter. It feels like the image is emerging from a long slumber and we are witnessing its awakening along with its decadence.
The object also finds a rhythm in space, inviting exploration and slowing down passage. It's an invitation to slow down one's gaze as well; tension builds in anticipation of the drop falling, in anticipation of the revelation of a new image. I want the viewer to feel compelled to return to it, after a few hours, a day, a week, to see the evolution of the piece.
This piece is the story of the genesis of photography: the image is destroyed by its mother material and chemical manipulation enhances its visibility. We live in a society that consumes images without digesting them; here, photography digests itself while spitting out a new image.