Corinne Mercadier

It all started by chance: it was the Light Years photography that was at the origin of this staged series, which was not one. On the beach in the evening, family and friends gathered, and I, as if apart, who sees the scene as an image.
I watched the familiar world from afar. Places and characters frozen in the heavy light of an eternal present. One of my favorite novels, The Invention of Morel, by Adolfo Bioy Casares, was like being reinvented in front of me.
I then continued by keeping this particular aesthetic given by these fragments of Polaroid SX70 enlarged and desaturated.
The staging that follows Light Years is as if passed through the filter of memory, or of a projection of the future that the photographic present captures.

The light of these images is theatrical, it treats exterior scenes as interiors, spaces limited by a shady backdrop rather than a horizon.
But the Long Distance series is also linked to cinematographic space / time: I have the permanent feeling through photography of extracting a few fragments from a film that constantly escapes. The images become a series of more or less discontinuous photograms. As a result, most are presented in triptych or diptych.
This is also what determined the format.