The couple remains today’s dominant norm in most modern societies. The couple structures social relationships and life as a couple organizes the common living spaces of the shared home. My photography project explores the inhabited space through the question of the boundaries between oneself and the other, their fluctuation, their porosity and their influence. Who are we in a couple, how do we articulate our identity with that of the other? How do we express our own identity and the boundaries of our intimacy, and what is the territory for compromise? In "Love's Edges", this game of borders & boundaries is translated aesthetically by the use of lighting and color.
My artistic approach to photography is above all conceptual, and is interested in the notions of space, territory and intimacy. I stage the space based on people's experiences and create images which aesthetics raise questions about current issues, such as identity, the couple and domestic space. My most recent work has resulted in the creation of this photographic series entitled "Love's Edges". This series draws from the ordinary daily life of 15 couples and stages a universe representative of the dynamics experienced within the couple. It proposes a contemporary reading of daily conjugal life by aiming to raise the stakes of identity through the negotiation of spaces.
In my architectural projections as well as in my photography practice, my creative process exploits both the documentary dimension and the fictional aspect of a theme. By aesthetically exploiting the ambiguity between an imaginary representation and an objective lived reality, my projects develop a singular poetry while initiating a reflection on our habits of life.
It is my intention to continue and deepen this area of research which I began in 2020 in Montreal. Exacerbated by the experience of confinement caused by the health crisis, the sharing of living spaces now takes on an unprecedented importance in the daily life and imagination of people. Continuing this work in a variety of communities will give me the opportunity to explore other types of architecture and a greater expanse of realities. Creating a second chapter for this “Love’s Edges” series will also allow me to develop new stagings; integrating more movement in the image. This objective gives center stage to the actions of the participants, aiming to communicate more precisely my vision of conceptual photography: each image challenges because it highlights the real fictional aspect of life. The roles we play, the avoidance, the fear of being oneself. Photography in which we never know what is true or false. In which ambiguity reveals the normative stakes of intimacy.
