Never before have we experienced what we are and what we could be. Circumscribed in our intimacy, the confinement was the occasion to auscultate it, to pay a new attention to it and to be located there by means of new behaviors, sometimes at the antipodes: withdrawal, self-relaxation, introspection, letting go. . Stéphanie Pommeret's photographs make an inventory, thus drawing up a typology of poses and expression in a collectively shared context. Like a forced marriage, we had to live with a daily newspaper that was sometimes forgotten, trivialized or neglected. To hold on, it sometimes proved necessary to reinvent it, sublimate it, rave about it: little things have become the object of our attention and object of distraction. So it is with the look carried on a plate, a flower, the patterns of a tile or an image, which, carried by a change in our relationship to time and space, then take on another dimension, than they reassure us or they transport us. Little things that allow us to decentralize, through which we fade for a moment and that we incorporate. To become one with your environment is to disappear a little, to step back to better take the measure. To project oneself there and to be projected there is a bit like embodying the Hopi thought which does not objectify the universe but merges all its elements: from "I see a flower" to "I am flower" To protect oneself is also to fade away, to blend into the background; the camouflages executed shift Stéphanie Pommeret's photographic work from the genre of portrait to that of landscape, whose patterns and the absence of limits illustrate this new relationship with time and space. In a hallucinatory atmosphere, Stéphanie Pommeret declines a dreamlike and whimsical universe which puts the individual, however central in the images, in perspective and proceeds from the escape.
Vanessa Auclerc-Galand
