During the inevitable almost daily trips to leave my village in the Alps, I kept the memory of my childhood of this game which consists in accommodating the sharpness of the gaze on the different planes of the landscapes. Thus was formed part of the DNA imprint of my work.

When I let myself be driven, the vehicle with its multiple openings/windows becomes my transparent mobile studio placed on giant tracking shots, turned towards the transported life that comes to terms with the unexpected, the irrational and sometimes the absurd. From this restricted space, my shots taken on the fly fix moments of this feverish space-time as witnesses of fleeting memories of a public space in our collective memory.

In front of my photographs, it is possible to observe the manual work on the surface of the paper, a balance between the printed image and the unique restored image. No adding, no gluing, no editing. In the pigmentary layer the pentiments of tools, the stains, the traces of the gestures are visible. If however my interventions can evoke the register of the drawing, they also modify the colors and materials of the pigment ink. This process of photographic depigmentation strips the epidermis of the photographic paper of its pigment to enrich it with the white of its soul which can in turn be light, color, space. In the stability of the square format, I simplify, sort, oppose, architecture. The slow work of the visual artist erases anecdotal elements and merges with the given snapshot.

Each image belongs to a series exploiting the various forms of detail: sections in the landscape, images in the image created by reflections or by the underside of decks, parts, bodies or objects, views inside the cabins , the off-screen of the truck cabin, the all-over produced by the washing brooms but also the fragmentation and enlargements of the print itself.

Before working on photographic paper in this way, for several years I produced abstract sculptures in sheets of painted glass or scraped mirrors, playing with the freedom offered to painting to be in space, without a frame, without a background. . Mirror plots and their reflections brought moving images. I then added fragments of my printed images as still images returning to the practice of photography.

This is how, by working in volume and in plan, the photograph turned out to be composed of materials whose action of depigmenting diverts the realistic origins of the image and opens the image to the trouble between illusion and intention. .

​

-------------------------------------------------- -

 

Aline Isoard participated in  the Art et Miss gallery exhibition on the following theme:​

​

• November 2020 : Photography is an art

 

-------------------------------------------------- -