My work operates a radical fusion between the female body and non-human living beings. Not as a metaphor, but as a political and sensitive assertion: there is no border.
Le Goût de l'eau is built from photographic double exposures made in the rock pools of the Breton coast. The chromatic stripping-away is not an aesthetic gesture — it is a theoretical one. It pulls the image out of the picturesque and places it in the register of self-evidence and resistance.
Ecofeminism, from Françoise d'Eaubonne to contemporary theorists such as Starhawk or Vandana Shiva, states an equation that I embody visually: the domination of women's bodies and the destruction of nature proceed from the same extractivist logic. These bodies lying in the pools, run through by seaweed, inseparable from the rock — are not abandoned bodies. They are bodies that refuse separation. Bodies that oppose the logic of possession with a logic of belonging.
Fine-art photography is called upon here in its most political capacity: not to represent the world, but to displace its categories. What the eye sees in these images — this impossibility of telling where the flesh ends and the stone begins — is precisely what dominant thought needs not to see in order to keep functioning.
Le Goût de l'eau is a work of resistance.
This creation was supported by the town of Binic-Étables-sur-Mer, as part of its cultural programme, during an artistic residency at « La Galerie ».