This project was born from the idea of a reinterpretation of the Greek myth of Perseus and Medusa, as an interrogation on photography itself.
By analogy with photography, the figure of the gorgon can thus be associated with the photographic mechanism: the fixing power of the photographic image becoming in the myth the petrifying gaze of Medusa.
Perseus' journey begins with his encounter with the Grées (or Moires) the sisters of destiny, also sisters of the three Gorgons. Sharing a single eye allowing them to see the whole time continuum (past, present, future), the Grées show Perseus the way to find the Gorgons.
Using the reflection of his shield to escape Medusa's gaze, Perseus
thus manages to cut off the head of the gorgon (the "gorgoneion" or Medusa's mask) and bring it back, triumphant, to Argos....
Perseus is thus represented avoiding direct contact with the camera, looking away or protecting himself with the reflection of his shield as an intermediary. Perseus' representation is also inspired by Greek statuary, which represents his triumph over the gorgonian.
The three Grées, which in the myth indicate the way to Gorgon Island, also question in the series the role of the camera, as a link between the fixed image (past), the view of the world through the lens (present) and the image to be (future).
The figure of Medusa becomes in the series the figure of the female photographer, embodying both the image of the photographer hidden behind his camera, but also the aesthetics of the mug-shot.
The gorgon is thus represented as the culprit in Greek myth; the photographer becoming the figure to be destroyed.
Gorgo therefore raises both the question of photography as a "petrifying" medium; but also that of the female photographer, represented as a danger, just like Medusa, as a feminist figure demonized by the original myth.
