Une fois et pas plus is a collection of photographs started in 2000, directly stemming from Glasstypes, photographs of illuminated paintings on glass featuring everyday objects around the body, clothes and enigmatic architecture (1998-2000). They are enlarged SX70 Polaroids.
In this series, the principal subject is the contact between the real and oneself. The objects fly and meet the characters. Who notice nothing or catch, accept, confront that which happens…
Destiny, ghost, future, silence,… sometimes the object is alone. Like an event destined more directly for the spectator.
I draw and realise these object-sculptures, in which geometry and random forms mix: trunks of hexagonal cones with sleeves and other supple hybrids of organza and crinoline take unpredictable attitudes under the effect of chance, speed and movement. To catch life in flight! Disappearance and loss have an important role in this series as in all my images.
Colour, so important in the rest of my work, is momentarily veiled in Une fois et pas plus so as not to disturb the far-off appearance of the dream: it is close to black and white, it blends the object flying in the scenery.
I have already treated colour in this way in a section of Ou commence le ciel? of 1996. The research carried out here concerning limits, and that of other series such as Intérieurs (an ongoing series started in 1999), have the same traits: empty places, suspended time, saturated colours. The edge of a ceiling, of a table or of a door… The closed space, by its own limits, becomes the screen on which shadows and lights project themselves. Reality, also treated in these photographs as a perpetually changing screen, filters on the same support the flux of the images of the visible world and that of the images of the interior world.
Une fois et pas plus condenses the spirit of previous or parallel research : one finds again traces of Paysages of 1991-1994 in the scenes of the exterior, and what follows, Interieurs and Glasstypes, around the idea of the envelope – house or body. New for me, the work on movement, and with it a different perception of time and history, make them photogrammes of an invisible film.