How did you become a photographer? Would you define yourself as a one?

My work has evolved along two main lines: architecture and landscape. They shouldn’t be interpreted literally. They are a way of looking at the “elsewhere” and how it is framed. So it was natural that photography would become one of the favoured media in my work.

What drives you as a photographer?

For a long time, I explored the notion of presence, a presence invited in certain spaces and not represented in the heart of the image. Today, and on the basis of my experience of photographic work, I’m seeking rather to bear witness to this presence in public spaces through the agency of video. This research isn’t in any way documentary in nature, and I treat images in motion as I would photographs: through framing, work on colour, anything that allows me to add a filter to the overabundance of reality. There then comes a work with words: off-screen monologues having simultaneously a poetic, philosophical and social content, on the subject of the marginal habitation of certain spaces.

Do you think there is such a thing as a ‘woman’s gaze’ in photography? Is this something you can relate to?

I don’t think my vision contains traces associated with my sex; indeed, it’s what I try to avoid.

Has being a woman influenced your work as an artist in any way? 

I’ve often had to work twice or three times as hard as my male colleagues to have the same level of acknowledgment of my work. I also know that the thoughts on my artistic and photographic work that I’ve expressed in different writings have not always received consideration. So it was difficult. And it still is, because I spend a lot more time and energy in creating rather than weaving distribution networks. It’s a choice: staying true to my primary passion.

Do you live off your art?

I live for my art, but I don’t make a living from my art, obviously.

Which authors have inspired you? Are there any women photographers among them?

I love literature, cinema, dance and photography, in fact all art forms. So I’m fascinated and enriched by a lot of authors, but I can’t name any authors who inspire me directly. Let’s say that I’ve been influenced by a certain approach of the American avant-garde artists of the 1970s. It was a time when a lot of seasoned and socially committed intellectuals were working and the dominant artistic conventions were in upheaval. I’ve no doubt that I’ve inherited from that influence a concern for a presence invited to visit a work both physically and mentally. In this sense, I have needed to work on the image, through scaling, framing and the support. The objective is to feel included through the reminiscence of a look. And without the human face playing the role of a reassuring mirror.