En-creux

“Le chagrin du deuil est une crise de présence,” writes Roland Barthes.Mourning is not merely the experience of loss; it is a rupture that unsettles consciousness, a collapse that renders the body fragile and its being-in-the-world uncertain.In en-creux, the artist’s body appears as an apparition. Overexposed, blurred, traversed by light, it does not assert itself as a fixed identity but as a trace—a fragile imprint resisting at the threshold of disappearance.Two spaces frame this crisis.The salt flats, with their mineral density, are places of preservation. Salt conserves, crystallizes, resists the erosion of time. Here, memory becomes grain—an enduring surface that defies oblivion.The house, by contrast, speaks through absence. Its minimal objects and emptied rooms suggest suspended time: blocked thresholds guarding silence.Between the exterior that preserves and the interior that testifies to loss, the body persists—vulnerable yet enduring. It becomes both relic and witness, inhabiting crisis without dissolving into it.Photography here emerges as an ambivalent gesture: at once erasure and preservation, dissolution and crystallization.En-creux is an ongoing work—an atlas of absence and survival in which the artist herself becomes the one who remains.