She had to give up her Polaroid. But the exploration of the digital has revealed unsuspected parts of her mental landscape. Her latest series irradiates. Since the beginning, Corinne Mercadier (born in 1955) practices photography as an adventure. One would be tempted to say as a drift, letting oneself be guided by what is most singular in her. Student in history of art in Aix-en-Provence, she began by taking a pool, always the same, for two years with a Polaroid SX-70. The cliches serve as models for her drawings, but, little by little, she succumbs to the charm of these little squares revealing magically under his eyes. A Polaroid embellishes the real, simplifies it, draws the image towards abstraction, introspection. The artist starts with landscapes, then composes her first fictions with her daughter, her mother, photographying them with a Leica camera before rephotographing the cliché with his SX-70 to derealize the scene. This process perfectly reflects her emotions, her fears, her anxieties. Over the years and her various works (1999 to 2012), exposed to the Arsenal of Metz, we find enigmatic characters, sometimes back, turned towards a black horizon. The scenes take place outdoors in undecided places, framed frontally like a theater stage. The objects are animated with a life of their own. Books, clothes fly, ribbons or fabric structures twist in space without seeming incongruous. Her large rectangular prints in pale colors, or in black and white, seem mysteriously to dissipate before our eyes. This graduate in Fine Arts studies manages to describe the functioning of her mental universe, the fear of loss and also the need to project herself into the future with the hope of better mastering it. With the end of production of Polaroid films in 2008, Corinne Mercadier thinks she will stop the photography. She then explores the possibilities of digital, obtains the same effects, and other unsuspected - like those of irradiating objects in its latest series, "Black Screen". Her best discovery was undoubtedly to realize that it was not the chemistry of the Polaroid that gave magnetism to his photos but her imagination.