Over the past twenty years, Florence and Damien Bachelot have acquired more than 1000 photographs. Their discerning choices initially focused on works by French humanist photographers such as Brassaï, Doisneau, Cartier-Bresson… before turning toward more contemporary creations, with works by Stéphane Couturier, Thibaut Cuisset, Luc Delahaye, Véronique Ellena, Adrien Boyer, Guillaume Zuili… Their collection rapidly expanded, in order to include images by major figures of American photography—Lewis Hine, Sid Grossman, Robert Frank, Ernst Haas, Bruce Davidson, Nan Goldin, Saul Leiter…—as well as British artists, notably Paul Graham, always with a guiding principle: the acquisition of vintage prints only.

A dual gaze upon humanity in its urban environment. Guided by a shared interest in the real, the urban, its evolution and complexity, a significant part of their collection reflects on the place of human beings within society and the city. These are often images that revolve around metropolises, architecture, walking in the street, and the perception of modern space. This book was published on the occasion of the exhibition \"Des villes et des hommes, regard sur la collection Florence et Damien Bachelot\", curated by Françoise Docquiert (Associate Director of the Department of Visual Arts and Art Sciences at Université Paris 1 Panthéon, independent curator) and Ricardo Vazquez (Chief Heritage Curator, Director of HDA Var, the art center of the Var Department) in April 2022.
Text by Douglas Kennedy.

Collection Bachelot

This book is the second volume about the amazing Florence and Damien Bachelot Collection, after Des villes et des hommes. Published on the occasion of Sam Stourdzé's exhibition at the Villa Médicis from October 2022 to January 2023, it focuses on the two great transatlantic traditions: so-called humanist French photography and early 20th-century American street photography. The presence of numerous vintage prints by Saul Leiter testifies, with the move to color, to a shift towards the second half of the century and a reversal of photographic influences.

Finally, we explore the beginnings of modern reportage with Gilles Caron, up to the documentary portraits of contemporary photographers such as Laura Henno. A leitmotif of the collection lies in the power of these exceptional images to bear witness to a world in flux, in crisis, and grappling with constant social and moral questioning. However, the Collection does not freeze in this idea and opens above all to encounters with an artist and his work. Thus, we discover the essential place given in the exhibition to Saul Leiter, whose production is above all a magnificent pictorial research rather than a moral plea.

The interview between Michel Poivert, a leading figure in the history of photography and a renowned art critic, Sam Stourdzé, director of the Villa Medici and curator of the exhibition, and Florence and Damien Bachelot, helps us understand the multiplicity of the Collection, as well as its immense artistic and humanist quality.

Portraits

Portraiture is one of the guiding threads of this collection: \"The essence of our collection is the human being. This was not a deliberate choice, but rather the result of observing our selections over time. In this spirit, it is only natural that portraiture should be one of the cornerstones of the collection—featuring images of individuals or groups, but also, more broadly, photographs that reflect human situations.\", Damien Bachelot

As a faithful or distorted mirror of reality, portraiture reveals the wide range of perspectives photographers bring to their subjects. Through the body, facial features, or gaze, they seek to explore the intricate workings of the human mind. As a genre, portraiture challenges the traditional roles historically assigned to photography—identifying, recognizing, cataloguing, classifying—and sheds light, across time, on the sociological, political, religious, or cultural contexts of our societies.

This publication, with a foreword by Patrick de Carolis, Françoise Docquiert, and Andy Neyrotti, was co-published by Maison CF and the Réattu Museum in Arles, France.

","This beautiful box brings together the three books edited by Maison CF, each presenting a selection of artworks from the Florence and Damien Bachelot Collection.des villes et des hommes Over the past twenty years, Florence and Damien Bachelot have acquired more than 1000 photographs. Their discerning choices initially focused on works by French humanist photographers such as Brassaï, Doisneau, Cartier-Bresson… before turning toward more contemporary creations, with works by Stéphane Couturier, Thibaut Cuisset, Luc Delahaye, Véronique Ellena, Adrien Boyer, Guillaume Zuili… Their collection rapidly expanded, in order to include images by major figures of American photography—Lewis Hine, Sid Grossman, Robert Frank, Ernst Haas, Bruce Davidson, Nan Goldin, Saul Leiter…—as well as British artists, notably Paul Graham, always with a guiding principle: the acquisition of vintage prints only. A dual gaze upon humanity in its urban environment. Guided by a shared interest in the real, the urban, its evolution and complexity, a significant part of their collection reflects on the place of human beings within society and the city. These are often images that revolve around metropolises, architecture, walking in the street, and the perception of modern space. This book was published on the occasion of the exhibition \"Des villes et des hommes, regard sur la collection Florence et Damien Bachelot\", curated by Françoise Docquiert (Associate Director of the Department of Visual Arts and Art Sciences at Université Paris 1 Panthéon, independent curator) and Ricardo Vazquez (Chief Heritage Curator, Director of HDA Var, the art center of the Var Department) in April 2022.Text by Douglas Kennedy.Collection BachelotThis book is the second volume about the amazing Florence and Damien Bachelot Collection, after Des villes et des hommes. Published on the occasion of Sam Stourdzé's exhibition at the Villa Médicis from October 2022 to January 2023, it focuses on the two great transatlantic traditions: so-called humanist French photography and early 20th-century American street photography. The presence of numerous vintage prints by Saul Leiter testifies, with the move to color, to a shift towards the second half of the century and a reversal of photographic influences.Finally, we explore the beginnings of modern reportage with Gilles Caron, up to the documentary portraits of contemporary photographers such as Laura Henno. A leitmotif of the collection lies in the power of these exceptional images to bear witness to a world in flux, in crisis, and grappling with constant social and moral questioning. However, the Collection does not freeze in this idea and opens above all to encounters with an artist and his work. Thus, we discover the essential place given in the exhibition to Saul Leiter, whose production is above all a magnificent pictorial research rather than a moral plea.The interview between Michel Poivert, a leading figure in the history of photography and a renowned art critic, Sam Stourdzé, director of the Villa Medici and curator of the exhibition, and Florence and Damien Bachelot, helps us understand the multiplicity of the Collection, as well as its immense artistic and humanist quality.PortraitsPortraiture is one of the guiding threads of this collection: \"The essence of our collection is the human being. This was not a deliberate choice, but rather the result of observing our selections over time. In this spirit, it is only natural that portraiture should be one of the cornerstones of the collection—featuring images of individuals or groups, but also, more broadly, photographs that reflect human situations.\", Damien BachelotAs a faithful or distorted mirror of reality, portraiture reveals the wide range of perspectives photographers bring to their subjects. Through the body, facial features, or gaze, they seek to explore the intricate workings of the human mind. As a genre, portraiture challenges the traditional roles historically assigned to photography—identifying, recognizing, cataloguing, classifying—and sheds light, across time, on the sociological, political, religious, or cultural contexts of our societies.This publication, with a foreword by Patrick de Carolis, Françoise Docquiert, and Andy Neyrotti, was co-published by Maison CF and the Réattu Museum in Arles, France.",[378],{"_23":123,"_124":379},[380],{"_23":127,"_128":381,"_158":-5},{"_130":98,"_131":-5,"_21":382,"_35":383,"_143":386,"_103":388,"_150":389,"_154":391,"_53":127,"_155":-5,"_156":392},"gid://shopify/ProductVariant/51878960169224",{"_134":135,"_21":384,"_29":385,"_138":-5,"_139":218,"_141":219},"gid://shopify/ProductImage/71494504120584","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_bachelot_coffret.png?v=1756822289",{"_145":387,"_147":148},"110.0",{"_53":373,"_109":374},[390],{"_23":123,"_153":127},"SKU-BACHELOT-COFFRET",[-5],{"_161":394},[395,397,401],{"_164":396},{"_21":384,"_29":385,"_138":-5,"_141":219,"_139":218},{"_164":398},{"_21":399,"_29":400,"_138":-5,"_141":219,"_139":218},"gid://shopify/ProductImage/66725027479816","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_collectionbachelot_coffret_hover.png?v=1756822289",{"_164":402},{"_21":403,"_29":404,"_138":-5,"_141":219,"_139":218},"gid://shopify/ProductImage/66725027119368","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_collectionbachelot_coffret_additional.png?v=1756822289",{"_21":384,"_138":-5,"_141":219,"_29":385,"_139":218},{"_170":407,"_172":408},{"_145":387,"_147":148},{"_145":387,"_147":148},[410,412,414,416,-5,418,427,430],{"_176":177,"_153":411,"_179":180,"_181":-5},"Collective ",{"_176":255,"_153":413,"_179":180,"_181":-5},"[{\"value\":27.7,\"unit\":\"CENTIMETERS\"},{\"value\":22.1,\"unit\":\"CENTIMETERS\"},{\"value\":6.3,\"unit\":\"CENTIMETERS\"}]",{"_176":258,"_153":415,"_179":180,"_181":-5},"384",{"_176":261,"_153":417,"_179":180,"_181":-5},"{\"value\":2.9,\"unit\":\"KILOGRAMS\"}",{"_176":264,"_153":419,"_179":266,"_181":420},"[\"gid://shopify/Metaobject/164291117320\",\"gid://shopify/Metaobject/164334076168\",\"gid://shopify/Metaobject/164339253512\"]",{"_184":421},[422,423,424],{"_21":270,"_109":271},{"_21":352,"_109":353},{"_21":425,"_109":426},"gid://shopify/Metaobject/164339253512","ita-italien",{"_176":428,"_153":429,"_179":180,"_181":-5},"prefacer","Patrick de Carolis, Françoise Docquiert, Andy Neyrotti",{"_176":273,"_153":431,"_179":180,"_181":-5},"{\"type\":\"root\",\"children\":[{\"type\":\"paragraph\",\"children\":[{\"type\":\"text\",\"value\":\"The collection of Florence and Damien Bachelot was the subject of three volumes published by CF between 2018 and 2023: \"},{\"type\":\"text\",\"value\":\"des villes et des hommes\",\"italic\":true},{\"type\":\"text\",\"value\":\", \"},{\"type\":\"text\",\"value\":\"Collection Bachelot\",\"italic\":true},{\"type\":\"text\",\"value\":\", \"},{\"type\":\"text\",\"value\":\"Portraits\",\"italic\":true},{\"type\":\"text\",\"value\":\", which are all grouped together in this box. \"}]}]}",{"_184":433},[434,437,438],{"_109":435,"_53":436},"collection-bachelot","Collection Florence et Damien Bachelot",{"_109":280,"_53":54},{"_109":187,"_53":188},{"_130":98,"_131":-5,"_21":382,"_35":440,"_143":441,"_103":442,"_150":443,"_154":391,"_53":127,"_155":-5,"_156":445},{"_134":135,"_21":384,"_29":385,"_138":-5,"_139":218,"_141":219},{"_145":387,"_147":148},{"_53":373,"_109":374},[444],{"_23":123,"_153":127},[-5],[],{"_25":-5,"_53":-5},{"_21":449,"_53":450,"_107":24,"_109":451,"_111":452,"_25":453,"_113":454,"_115":454,"_117":118,"_119":112,"_120":455,"_159":486,"_166":500,"_168":501,"_156":504,"_182":521,"_189":529,"_197":536,"_199":544},"gid://shopify/Product/10395781824776","Periferia | Special edition","periferia-tirages-de-tete","\"There is nothing more natural than recognizing that a world exists on the edge of our own—since one world surrounds us, and yet another beyond that. Space, fate, and will always place us within one of these concentric circles. The relationship between the center and the periphery is a field explored by nearly every form of thought: from suburban utopias to the aesthetics of housing projects, through to gentrification eating away at the land, or the metaphor of exclusion. It can then be worthwhile to introduce a bit of disorder into a subject too often confined to topographic, urban planning, or sociological discourse.

Periferia is a centrifugal road movie, where one only circles, retraces steps— an aesthetic wandering made up of portraits, encounters, solitude, and disorientation. Such a project is not total. It comes into being while fully aware of its gaps, its incompleteness, of not exhausting every possibility, nor exploring every crevice. Periferia is only a dotted line within a vast curve—one that began so long ago and whose end no one can see—the curve of endless reflection on a territory and the men and women who inhabit it.\", Thomas Klotz","\"There is nothing more natural than recognizing that a world exists on the edge of our own—since one world surrounds us, and yet another beyond that. Space, fate, and will always place us within one of these concentric circles. The relationship between the center and the periphery is a field explored by nearly every form of thought: from suburban utopias to the aesthetics of housing projects, through to gentrification eating away at the land, or the metaphor of exclusion. It can then be worthwhile to introduce a bit of disorder into a subject too often confined to topographic, urban planning, or sociological discourse.Periferia is a centrifugal road movie, where one only circles, retraces steps— an aesthetic wandering made up of portraits, encounters, solitude, and disorientation. Such a project is not total. It comes into being while fully aware of its gaps, its incompleteness, of not exhausting every possibility, nor exploring every crevice. Periferia is only a dotted line within a vast curve—one that began so long ago and whose end no one can see—the curve of endless reflection on a territory and the men and women who inhabit it.\", Thomas Klotz","v1_0-1",[456],{"_23":457,"_124":458},"special edition",[459,473],{"_23":460,"_128":461,"_158":-5},"Periferia #01, 2025 tirage pigmentaire (20 x 16 cm)",{"_130":98,"_131":-5,"_21":462,"_35":463,"_143":466,"_103":468,"_150":469,"_154":-5,"_53":471,"_155":-5,"_156":472},"gid://shopify/ProductVariant/51921291870472",{"_134":135,"_21":464,"_29":465,"_138":-5,"_139":218,"_141":219},"gid://shopify/ProductImage/67112491188488","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_tirages_thomasklotz_pariferia_02_ceef06cf-08b5-48d3-811f-6e13635482cf.png?v=1753868394",{"_145":467,"_147":148},"250.0",{"_53":450,"_109":451},[470],{"_23":457,"_153":460},"Periferia #01 2025 pigment print (20 x 16 cm)",[-5],{"_23":474,"_128":475,"_158":-5},"Periferia #02, 2025 tirage pigmentaire (20 x 16 cm)",{"_130":98,"_131":-5,"_21":476,"_35":477,"_143":480,"_103":481,"_150":482,"_154":-5,"_53":484,"_155":-5,"_156":485},"gid://shopify/ProductVariant/51921291903240",{"_134":135,"_21":478,"_29":479,"_138":-5,"_139":218,"_141":219},"gid://shopify/ProductImage/67112520188168","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_tirages_thomasklotz_pariferia_01_77b06fa5-d92a-4038-87b9-8fcb82beffd5.png?v=1753868394",{"_145":467,"_147":148},{"_53":450,"_109":451},[483],{"_23":457,"_153":474},"Periferia #02 2025 pigment print (20 x 16 cm)",[-5],{"_161":487},[488,492,496,498],{"_164":489},{"_21":490,"_29":491,"_138":-5,"_141":219,"_139":218},"gid://shopify/ProductImage/69068866060552","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_tirages_thomasklotz_pariferia_main.png?v=1753868394",{"_164":493},{"_21":494,"_29":495,"_138":-5,"_141":219,"_139":218},"gid://shopify/ProductImage/67112416051464","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_tirages_thomasklotz_pariferia_hover.png?v=1753868394",{"_164":497},{"_21":464,"_29":465,"_138":-5,"_141":219,"_139":218},{"_164":499},{"_21":478,"_29":479,"_138":-5,"_141":219,"_139":218},{"_21":490,"_138":-5,"_141":219,"_29":491,"_139":218},{"_170":502,"_172":503},{"_145":467,"_147":148},{"_145":467,"_147":148},[505,507,509,511,-5,513,517,519],{"_176":177,"_153":506,"_179":180,"_181":-5},"Thomas Klotz",{"_176":255,"_153":508,"_179":180,"_181":-5},"[{\"value\":24.0,\"unit\":\"CENTIMETERS\"},{\"value\":30.0,\"unit\":\"CENTIMETERS\"}]",{"_176":258,"_153":510,"_179":180,"_181":-5},"88",{"_176":261,"_153":512,"_179":180,"_181":-5},"{\"value\":1.0,\"unit\":\"KILOGRAMS\"}",{"_176":264,"_153":265,"_179":266,"_181":514},{"_184":515},[516],{"_21":270,"_109":271},{"_176":428,"_153":518,"_179":180,"_181":-5},"Damarice Amao, Abel Quentin",{"_176":273,"_153":520,"_179":180,"_181":-5},"{\"type\":\"root\",\"children\":[{\"type\":\"paragraph\",\"children\":[{\"type\":\"text\",\"value\":\"Special edition \\n\\nA limited edition of the book, signed \\n+\\nAn original photograph of your choice, signed and numbered out of 10 (20 x 16 cm format) \"},{\"type\":\"text\",\"value\":\"\\n\\nPeriferia\",\"italic\":true},{\"type\":\"text\",\"value\":\" is the fourth book by photographer Thomas Klotz. In it, the artist explores the liminal zones of cities—those often invisible peripheries where some of the essential stories of our time unfold. With an approach that is both poetic and precise, Thomas Klotz captures the soul of these territories—from Île-de-France to Argentina, through Poland and the American suburbs.\\n\\nHis large-format portraits reveal a quiet yet powerful humanity, while his urban landscapes—with their muted colors and subdued lighting—question our relationship to space and modernity. \"},{\"type\":\"text\",\"value\":\"Periferia\",\"italic\":true},{\"type\":\"text\",\"value\":\" is not a documentary, but an invitation to see these in-between places differently—where the longing to escape meets deep-rooted connections.\"}]}]}",{"_184":522},[523,525,526,527],{"_109":524,"_53":506},"thomas-klotz",{"_109":280,"_53":54},{"_109":187,"_53":188},{"_109":528,"_53":63},"editions-speciales",{"_130":98,"_131":-5,"_21":462,"_35":530,"_143":531,"_103":532,"_150":533,"_154":-5,"_53":471,"_155":-5,"_156":535},{"_134":135,"_21":464,"_29":465,"_138":-5,"_139":218,"_141":219},{"_145":467,"_147":148},{"_53":450,"_109":451},[534],{"_23":457,"_153":460},[-5],[537],{"_130":98,"_131":-5,"_21":476,"_35":538,"_143":539,"_103":540,"_150":541,"_154":-5,"_53":484,"_155":-5,"_156":543},{"_134":135,"_21":478,"_29":479,"_138":-5,"_139":218,"_141":219},{"_145":467,"_147":148},{"_53":450,"_109":451},[542],{"_23":457,"_153":474},[-5],{"_25":-5,"_53":-5},{"_21":546,"_53":547,"_107":24,"_109":548,"_111":549,"_25":550,"_113":114,"_115":114,"_117":118,"_119":112,"_120":551,"_159":567,"_166":587,"_168":588,"_156":591,"_182":605,"_189":610,"_197":617,"_199":618},"gid://shopify/Product/10069867888904","L'Odeur de la nuit était celle du jasmin ","lodeur-de-la-nuit-etait-celle-du-jasmin-flore","L’odeur de la nuit était celle du jasmin continues the exploration begun in FLORE’s earlier book, Lointains souvenirs (Éditions Contrejour, 2016), which reflected on Marguerite Duras’s youth in Indochina. In this new project, the artist draws on her childhood memories and the stories of her grandparents, who lived during the same period and in the same places as the writer. These stories now nourish what she experiences as a shared imaginative space with Duras.

Short excerpts from Marguerite Duras’s texts punctuate the black-and-white photographs toned with tea, creating a literary counterpoint.
Through this technique and her sensitive approach, FLORE both shapes and captures the world unfolding before her eyes, producing images that question the fragility of memory and photography’s ability to create a truth stronger than reality itself.
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\"There is nothing more natural than recognizing that a world exists on the edge of our own—since one world surrounds us, and yet another beyond that. Space, fate, and will always place us within one of these concentric circles. The relationship between the center and the periphery is a field explored by nearly every form of thought: from suburban utopias to the aesthetics of housing projects, through to gentrification eating away at the land, or the metaphor of exclusion. It can then be worthwhile to introduce a bit of disorder into a subject too often confined to topographic, urban planning, or sociological discourse.

Periferia is a centrifugal road movie, where one only circles, retraces steps— an aesthetic wandering made up of portraits, encounters, solitude, and disorientation. Such a project is not total. It comes into being while fully aware of its gaps, its incompleteness, of not exhausting every possibility, nor exploring every crevice. Periferia is only a dotted line within a vast curve—one that began so long ago and whose end no one can see—the curve of endless reflection on a territory and the men and women who inhabit it.\", Thomas Klotz

",[625],{"_23":123,"_124":626},[627],{"_23":127,"_128":628,"_158":-5},{"_130":98,"_131":-5,"_21":629,"_35":630,"_143":633,"_103":635,"_150":636,"_154":638,"_53":127,"_155":-5,"_156":639},"gid://shopify/ProductVariant/51864840339720",{"_134":135,"_21":631,"_29":632,"_138":-5,"_139":218,"_141":219},"gid://shopify/ProductImage/68624420012296","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_thomasklotz_periferia_main_b4c934fd-787f-488e-8caf-480490cc50c3.png?v=1753548595",{"_145":634,"_147":148},"55.0",{"_53":621,"_109":622},[637],{"_23":123,"_153":127},"SKU-TK-PERIFERIA-55",[-5],{"_161":641},[642,644,648,652,656],{"_164":643},{"_21":631,"_29":632,"_138":-5,"_141":219,"_139":218},{"_164":645},{"_21":646,"_29":647,"_138":-5,"_141":219,"_139":218},"gid://shopify/ProductImage/68624422142216","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_thomasklotz_periferia_hover.png?v=1753548612",{"_164":649},{"_21":650,"_29":651,"_138":-5,"_141":219,"_139":218},"gid://shopify/ProductImage/68624425484552","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_thomasklotz_periferia_additional01.jpg?v=1753548636",{"_164":653},{"_21":654,"_29":655,"_138":-5,"_141":219,"_139":218},"gid://shopify/ProductImage/68624455205128","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_thomasklotz_periferia_additional02.jpg?v=1753548643",{"_164":657},{"_21":658,"_29":659,"_138":-5,"_141":219,"_139":218},"gid://shopify/ProductImage/68624635920648","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_thomasklotz_periferia_additional03.jpg?v=1753548654",{"_21":631,"_138":-5,"_141":219,"_29":632,"_139":218},{"_170":662,"_172":663},{"_145":634,"_147":148},{"_145":634,"_147":148},[665,666,667,668,-5,669,673,674],{"_176":177,"_153":506,"_179":180,"_181":-5},{"_176":255,"_153":508,"_179":180,"_181":-5},{"_176":258,"_153":510,"_179":180,"_181":-5},{"_176":261,"_153":512,"_179":180,"_181":-5},{"_176":264,"_153":265,"_179":266,"_181":670},{"_184":671},[672],{"_21":270,"_109":271},{"_176":428,"_153":518,"_179":180,"_181":-5},{"_176":273,"_153":675,"_179":180,"_181":-5},"{\"type\":\"root\",\"children\":[{\"type\":\"paragraph\",\"children\":[{\"type\":\"text\",\"value\":\"Periferia\",\"italic\":true},{\"type\":\"text\",\"value\":\" is the fourth book by photographer Thomas Klotz. In it, the artist explores the liminal zones of cities—those often invisible peripheries where some of the essential stories of our time unfold. With an approach that is both poetic and precise, Thomas Klotz captures the soul of these territories—from Île-de-France to Argentina, through Poland and the American suburbs.\\n\\nHis large-format portraits reveal a quiet yet powerful humanity, while his urban landscapes—with their muted colors and subdued lighting—question our relationship to space and modernity. \"},{\"type\":\"text\",\"value\":\"Periferia\",\"italic\":true},{\"type\":\"text\",\"value\":\" is not a documentary, but an invitation to see these in-between places differently—where the longing to escape meets deep-rooted connections.\"}]}]}",{"_184":677},[678,679,680],{"_109":524,"_53":506},{"_109":280,"_53":54},{"_109":187,"_53":188},{"_130":98,"_131":-5,"_21":629,"_35":682,"_143":683,"_103":684,"_150":685,"_154":638,"_53":127,"_155":-5,"_156":687},{"_134":135,"_21":631,"_29":632,"_138":-5,"_139":218,"_141":219},{"_145":634,"_147":148},{"_53":621,"_109":622},[686],{"_23":123,"_153":127},[-5],[],{"_25":-5,"_53":-5},{"_21":691,"_53":692,"_107":24,"_109":693,"_111":694,"_25":695,"_113":114,"_115":114,"_117":118,"_119":112,"_120":696,"_159":712,"_166":732,"_168":733,"_156":736,"_182":754,"_189":760,"_197":767,"_199":768},"gid://shopify/Product/10070358884616","Nouveau démenti de la mission spatiale Viking 4","nouveau-dementi-de-la-mission-spatiale-viking-4-peter-mitchell","\n

This series, originally exhibited at Impressions Gallery in York in 1979, was the first color photography exhibition shown in the UK. Revisited at the Rencontres d’Arles in 2017 and the Charleroi Photography Museum in 2020, A New Refutation of the Viking 4 Space Mission had never before been published as a book.

Bilingual, the volume reproduces all the images from the series—mainly square-format portraits of Leeds residents, captured in front of their homes or shops during the 1970s. The backdrop unfolds an astonishing Martian investigative tale: at a time when the first Viking probes were being sent into space, here a Martian probe lands in Leeds and comments on the photographs.

This book is co-published by Maison CF and RRB Publishing.

","This series, originally exhibited at Impressions Gallery in York in 1979, was the first color photography exhibition shown in the UK. Revisited at the Rencontres d’Arles in 2017 and the Charleroi Photography Museum in 2020, A New Refutation of the Viking 4 Space Mission had never before been published as a book.Bilingual, the volume reproduces all the images from the series—mainly square-format portraits of Leeds residents, captured in front of their homes or shops during the 1970s. The backdrop unfolds an astonishing Martian investigative tale: at a time when the first Viking probes were being sent into space, here a Martian probe lands in Leeds and comments on the photographs.This book is co-published by Maison CF and RRB Publishing.",[697],{"_23":123,"_124":698},[699],{"_23":127,"_128":700,"_158":-5},{"_130":98,"_131":-5,"_21":701,"_35":702,"_143":705,"_103":707,"_150":708,"_154":710,"_53":127,"_155":-5,"_156":711},"gid://shopify/ProductVariant/50994938970376",{"_134":135,"_21":703,"_29":704,"_138":-5,"_139":218,"_141":219},"gid://shopify/ProductImage/64256258998536","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_petermitchell_nouveaudementidelamissionspacialeviking4_main_1acd3e27-7b00-424f-ad00-1e2546df6c04.png?v=1748101131",{"_145":706,"_147":148},"42.0",{"_53":692,"_109":693},[709],{"_23":123,"_153":127},"SKU-MITCHELL",[-5],{"_161":713},[714,716,720,724,728],{"_164":715},{"_21":703,"_29":704,"_138":-5,"_141":219,"_139":218},{"_164":717},{"_21":718,"_29":719,"_138":-5,"_141":219,"_139":218},"gid://shopify/ProductImage/64256258965768","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_petermitchell_nouveaudementidelamissionspacialeviking4_hover_7cf8410a-5e1d-4b17-9071-2578155fddfb.png?v=1748101131",{"_164":721},{"_21":722,"_29":723,"_138":-5,"_141":219,"_139":218},"gid://shopify/ProductImage/64256258801928","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_petermitchell_nouveaudementidelamissionspacialeviking4_alternate01_c8a08ed4-8f97-4f3c-ae5d-79dce104aa82.jpg?v=1748101131",{"_164":725},{"_21":726,"_29":727,"_138":-5,"_141":219,"_139":218},"gid://shopify/ProductImage/64256258933000","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_petermitchell_nouveaudementidelamissionspacialeviking4_alternate02_62952dff-8a36-4ab9-b94a-b2309b929011.jpg?v=1748101131",{"_164":729},{"_21":730,"_29":731,"_138":-5,"_141":219,"_139":218},"gid://shopify/ProductImage/64256258769160","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_petermitchell_nouveaudementidelamissionspacialeviking4_alternate03_fc30a46e-0383-4240-95d1-c35bd5f56a8d.jpg?v=1748101131",{"_21":703,"_138":-5,"_141":219,"_29":704,"_139":218},{"_170":734,"_172":735},{"_145":706,"_147":148},{"_145":706,"_147":148},[737,739,741,743,-5,745,750,752],{"_176":177,"_153":738,"_179":180,"_181":-5},"Peter Mitchell",{"_176":255,"_153":740,"_179":180,"_181":-5},"[{\"value\":26.7,\"unit\":\"CENTIMETERS\"},{\"value\":24.5,\"unit\":\"CENTIMETERS\"},{\"value\":1.5,\"unit\":\"CENTIMETERS\"}]",{"_176":258,"_153":742,"_179":180,"_181":-5},"96",{"_176":261,"_153":744,"_179":180,"_181":-5},"{\"value\":839.0,\"unit\":\"GRAMS\"}",{"_176":264,"_153":347,"_179":266,"_181":746},{"_184":747},[748,749],{"_21":270,"_109":271},{"_21":352,"_109":353},{"_176":428,"_153":751,"_179":180,"_181":-5},"Val Williams",{"_176":273,"_153":753,"_179":180,"_181":-5},"{\"type\":\"root\",\"children\":[{\"type\":\"paragraph\",\"children\":[{\"type\":\"text\",\"value\":\"\\\"Peter Mitchell and his groundbreaking project, A New Denial of the Viking 4 Space Mission, shown at the Impressions Gallery in 1979, is finally the subject of a book. And in French! One of the most important works in the history of color photography. Better late than never.\\\" Martin Parr\"}]}]}",{"_184":755},[756,758,759],{"_109":757,"_53":738},"peter-mitchell",{"_109":280,"_53":54},{"_109":187,"_53":188},{"_130":98,"_131":-5,"_21":701,"_35":761,"_143":762,"_103":763,"_150":764,"_154":710,"_53":127,"_155":-5,"_156":766},{"_134":135,"_21":703,"_29":704,"_138":-5,"_139":218,"_141":219},{"_145":706,"_147":148},{"_53":692,"_109":693},[765],{"_23":123,"_153":127},[-5],[],{"_25":-5,"_53":-5},{"_21":770,"_53":771,"_107":772,"_109":773,"_111":774,"_25":775,"_113":114,"_115":114,"_117":118,"_119":112,"_120":776,"_159":791,"_166":811,"_168":812,"_156":815,"_182":831,"_189":837,"_197":844,"_199":845},"gid://shopify/Product/10069949382920","Accra-London | Serpentine exhibition catalog","Serpentine Galleries / Koenig Books","serpentine-exhibition-catalogue-james-barnor","

On the occasion of the exhibition Serpentine is publishing a catalogue, Accra/London – A Retrospective, with Koenig Books, which is co-produced with MASI Lugano and Detroit Institute of Arts.

Richly illustrated and designed by Mark El-khatib, it includes contributions by head of the photographic collection at the Musée du quai Branly – Jacques Chirac in Paris, Christine Barthe; architect Sir David Adjaye OBE; artist David Hartt; curator Alicia Knock, and a personal recollection from former Drum magazine model, Erlin Ibreck, who worked with Barnor on numerous shoots during the 1960s in London. The catalogue also includes a conversation between Barnor and Serpentine Artistic Director Hans Ulrich Obrist.

Texts by : Hans Ulrich Obrist, Bettina Korek, Tobia Bezzola, Nii Otokunor Quarcoopome, Nancy Watson Barr, Christine Barthe, Sir David Adjaye OBE, Erlin Ibreck, Alicia Knock, David Hartt

","On the occasion of the exhibition Serpentine is publishing a catalogue, Accra/London – A Retrospective, with Koenig Books, which is co-produced with MASI Lugano and Detroit Institute of Arts.Richly illustrated and designed by Mark El-khatib, it includes contributions by head of the photographic collection at the Musée du quai Branly – Jacques Chirac in Paris, Christine Barthe; architect Sir David Adjaye OBE; artist David Hartt; curator Alicia Knock, and a personal recollection from former Drum magazine model, Erlin Ibreck, who worked with Barnor on numerous shoots during the 1960s in London. The catalogue also includes a conversation between Barnor and Serpentine Artistic Director Hans Ulrich Obrist.Texts by : Hans Ulrich Obrist, Bettina Korek, Tobia Bezzola, Nii Otokunor Quarcoopome, Nancy Watson Barr, Christine Barthe, Sir David Adjaye OBE, Erlin Ibreck, Alicia Knock, David Hartt",[777],{"_23":123,"_124":778},[779],{"_23":127,"_128":780,"_158":-5},{"_130":98,"_131":-5,"_21":781,"_35":782,"_143":785,"_103":786,"_150":787,"_154":789,"_53":127,"_155":-5,"_156":790},"gid://shopify/ProductVariant/50992807543048",{"_134":135,"_21":783,"_29":784,"_138":-5,"_139":218,"_141":219},"gid://shopify/ProductImage/64257099727112","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_jamesbarnor_accralondonaretrospective_main.png?v=1748103287",{"_145":307,"_147":148},{"_53":771,"_109":773},[788],{"_23":123,"_153":127},"SKU-BARNOR-SERPENTINE-30",[-5],{"_161":792},[793,795,799,803,807],{"_164":794},{"_21":783,"_29":784,"_138":-5,"_141":219,"_139":218},{"_164":796},{"_21":797,"_29":798,"_138":-5,"_141":219,"_139":218},"gid://shopify/ProductImage/64257099596040","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_jamesbarnor_accralondonaretrospective_hover.png?v=1748103287",{"_164":800},{"_21":801,"_29":802,"_138":-5,"_141":219,"_139":218},"gid://shopify/ProductImage/64257099366664","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_jamesbarnor_accralondonaretrospective_alternate03.jpg?v=1748103286",{"_164":804},{"_21":805,"_29":806,"_138":-5,"_141":219,"_139":218},"gid://shopify/ProductImage/64257099333896","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_jamesbarnor_accralondonaretrospective_alternate02.jpg?v=1748103286",{"_164":808},{"_21":809,"_29":810,"_138":-5,"_141":219,"_139":218},"gid://shopify/ProductImage/64257099301128","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_jamesbarnor_accralondonaretrospective_alternate01.jpg?v=1748103286",{"_21":783,"_138":-5,"_141":219,"_29":784,"_139":218},{"_170":813,"_172":814},{"_145":307,"_147":148},{"_145":307,"_147":148},[816,818,820,822,-5,824,-5,829],{"_176":177,"_153":817,"_179":180,"_181":-5},"James Barnor",{"_176":255,"_153":819,"_179":180,"_181":-5},"[{\"value\":25.1,\"unit\":\"CENTIMETERS\"},{\"value\":20.1,\"unit\":\"CENTIMETERS\"},{\"value\":2.3,\"unit\":\"CENTIMETERS\"}]",{"_176":258,"_153":821,"_179":180,"_181":-5},"240",{"_176":261,"_153":823,"_179":180,"_181":-5},"{\"value\":900.0,\"unit\":\"GRAMS\"}",{"_176":264,"_153":825,"_179":266,"_181":826},"[\"gid://shopify/Metaobject/164334076168\"]",{"_184":827},[828],{"_21":352,"_109":353},{"_176":273,"_153":830,"_179":180,"_181":-5},"{\"type\":\"root\",\"children\":[{\"type\":\"paragraph\",\"children\":[{\"type\":\"text\",\"value\":\"This retrospective traces the evolution of James Barnor's work, from his beginnings in Accra (Ghana) to his career in London (England), enriched by a wide variety of texts.\"}]}]}",{"_184":832},[833,835,836],{"_109":834,"_53":817},"james-barnor",{"_109":280,"_53":54},{"_109":187,"_53":188},{"_130":98,"_131":-5,"_21":781,"_35":838,"_143":839,"_103":840,"_150":841,"_154":789,"_53":127,"_155":-5,"_156":843},{"_134":135,"_21":783,"_29":784,"_138":-5,"_139":218,"_141":219},{"_145":307,"_147":148},{"_53":771,"_109":773},[842],{"_23":123,"_153":127},[-5],[],{"_25":-5,"_53":-5},{"_21":847,"_53":848,"_107":24,"_109":849,"_111":850,"_25":851,"_113":114,"_115":114,"_117":118,"_119":112,"_120":852,"_159":868,"_166":888,"_168":889,"_156":892,"_182":910,"_189":916,"_197":923,"_199":924},"gid://shopify/Product/10069976973576","Un autre monde ","un-autre-monde-juliette-agnel","

Juliette Agnel’s photographic work reveals the invisible presences that inhabit our world. Extreme landscapes in Greenland, the depths of a prehistoric cave and archeological sites in Sudan become points of passage from which telluric powers emerge. By making images of these terrestrial scenes, she puts us in relation with another world.

Juliette Agnel, born in 1973, is a photographer trained in the visual arts and ethno-aesthetics, influenced by the work of Jean Rouch and the stories of Victor Segalen. After years of exploration in Africa, she developed an experimental photographic practice, combining blur and randomness to evoke human memory. Her encounter with the Bardenas desert in 2016 inspired Les Nocturnes, a celestial series exhibited at Rencontres d'Arles, extended by projects such as La lune noire. Her work, focused on the links between man and landscapes (Greenland, Sudanese necropolises, prehistoric caves), was awarded the Prix Niépce in 2023. In 2024, her work will be shown at the BnF, the Jeu de Paume and the Fondation Van Gogh.

For Juliette Agnel, art is about the relationship between the real and the invisible, about an absolute that transcends us and challenges us to question the foundations of our humanity. For her, it's a question of tirelessly pursuing the same quest by observing those forces that surround us but which we don't see: “grasp what unites us in depth, recalling that the human body is a significant fragment of the cosmos.”

","Juliette Agnel’s photographic work reveals the invisible presences that inhabit our world. Extreme landscapes in Greenland, the depths of a prehistoric cave and archeological sites in Sudan become points of passage from which telluric powers emerge. By making images of these terrestrial scenes, she puts us in relation with another world.Juliette Agnel, born in 1973, is a photographer trained in the visual arts and ethno-aesthetics, influenced by the work of Jean Rouch and the stories of Victor Segalen. After years of exploration in Africa, she developed an experimental photographic practice, combining blur and randomness to evoke human memory. Her encounter with the Bardenas desert in 2016 inspired Les Nocturnes, a celestial series exhibited at Rencontres d'Arles, extended by projects such as La lune noire. Her work, focused on the links between man and landscapes (Greenland, Sudanese necropolises, prehistoric caves), was awarded the Prix Niépce in 2023. In 2024, her work will be shown at the BnF, the Jeu de Paume and the Fondation Van Gogh. For Juliette Agnel, art is about the relationship between the real and the invisible, about an absolute that transcends us and challenges us to question the foundations of our humanity. For her, it's a question of tirelessly pursuing the same quest by observing those forces that surround us but which we don't see: “grasp what unites us in depth, recalling that the human body is a significant fragment of the cosmos.”",[853],{"_23":123,"_124":854},[855],{"_23":127,"_128":856,"_158":-5},{"_130":98,"_131":-5,"_21":857,"_35":858,"_143":861,"_103":863,"_150":864,"_154":866,"_53":127,"_155":-5,"_156":867},"gid://shopify/ProductVariant/51763453624584",{"_134":135,"_21":859,"_29":860,"_138":-5,"_139":218,"_141":219},"gid://shopify/ProductImage/64257066926344","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_julietteagnel_unautremonde_main.png?v=1748103175",{"_145":862,"_147":148},"48.0",{"_53":848,"_109":849},[865],{"_23":123,"_153":127},"SKU-UNAUTREMONDE-JULIETTEAGNEL-48",[-5],{"_161":869},[870,872,876,880,884],{"_164":871},{"_21":859,"_29":860,"_138":-5,"_141":219,"_139":218},{"_164":873},{"_21":874,"_29":875,"_138":-5,"_141":219,"_139":218},"gid://shopify/ProductImage/64257066696968","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_julietteagnel_unautremonde_hover.png?v=1748103175",{"_164":877},{"_21":878,"_29":879,"_138":-5,"_141":219,"_139":218},"gid://shopify/ProductImage/64257066762504","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_julietteagnel_unautremonde_alternate01.jpg?v=1748103175",{"_164":881},{"_21":882,"_29":883,"_138":-5,"_141":219,"_139":218},"gid://shopify/ProductImage/64257066664200","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_julietteagnel_unautremonde_alternate02.jpg?v=1748103175",{"_164":885},{"_21":886,"_29":887,"_138":-5,"_141":219,"_139":218},"gid://shopify/ProductImage/64257066893576","https://cdn.shopify.com/s/files/1/0932/5471/3608/files/maisoncf_julietteagnel_unautremonde_alternate03.jpg?v=1748103175",{"_21":859,"_138":-5,"_141":219,"_29":860,"_139":218},{"_170":890,"_172":891},{"_145":862,"_147":148},{"_145":862,"_147":148},[893,895,897,899,-5,901,906,908],{"_176":177,"_153":894,"_179":180,"_181":-5},"Juliette Agnel",{"_176":255,"_153":896,"_179":180,"_181":-5},"[{\"value\":27.5,\"unit\":\"CENTIMETERS\"},{\"value\":23.6,\"unit\":\"CENTIMETERS\"},{\"value\":2.5,\"unit\":\"CENTIMETERS\"}]",{"_176":258,"_153":898,"_179":180,"_181":-5},"192",{"_176":261,"_153":900,"_179":180,"_181":-5},"{\"value\":1.2,\"unit\":\"KILOGRAMS\"}",{"_176":264,"_153":347,"_179":266,"_181":902},{"_184":903},[904,905],{"_21":270,"_109":271},{"_21":352,"_109":353},{"_176":428,"_153":907,"_179":180,"_181":-5},"Marta Ponsa, Jacques Aumont, Yannick Haenel et Teresa Castro",{"_176":273,"_153":909,"_179":180,"_181":-5},"{\"type\":\"root\",\"children\":[{\"type\":\"paragraph\",\"children\":[{\"type\":\"text\",\"value\":\"For the first time, this publication presents the work of Juliette Agnel (winner of the 2023 Niépce Prize) in the form of a fine art book that fully captures the depth and singularity of the photographer’s vision of the world.\"}]}]}",{"_184":911},[912,914,915],{"_109":913,"_53":894},"juliette-agnel",{"_109":280,"_53":54},{"_109":187,"_53":188},{"_130":98,"_131":-5,"_21":857,"_35":917,"_143":918,"_103":919,"_150":920,"_154":866,"_53":127,"_155":-5,"_156":922},{"_134":135,"_21":859,"_29":860,"_138":-5,"_139":218,"_141":219},{"_145":862,"_147":148},{"_53":848,"_109":849},[921],{"_23":123,"_153":127},[-5],[],{"_25":-5,"_53":-5},{"_21":926,"_53":927,"_107":24,"_109":928,"_111":929,"_25":930,"_113":114,"_115":114,"_117":118,"_119":112,"_120":931,"_159":947,"_166":963,"_168":964,"_156":967,"_182":981,"_189":986,"_197":993,"_199":994},"gid://shopify/Product/10069863661832","Les rêveries de Lavinia","flore-les-reveries-de-lavinia-signe","

Lavinia: this Italian-sounding name of Latin origin evokes, on its own, a poetic world, filled with the scents of citrus and honey. With this series, FLORE takes us on a journey reminiscent of a Grand Tour through Italy, much like the one undertaken by Romantic artists of the 19th century. The technique she uses—the soft focus, the grain of the images, their coloration reminiscent of autochromes—all contributes to a sense of travel through time.

As always in FLORE’s work, each of her series is rooted in a part of herself, as if it were connected to a greater, older story—as if she had inherited the memories of others and sought to make them come alive for us. Once again, there is something deeply personal here: while clearing out her aunt’s house, she discovered a bundle of letters—traces of a long friendship between her aunt and an Italian woman named Lavinia.

Haunted by this correspondence, FLORE has been journeying through Italy for the past ten years. Les rêveries de Lavinia is both an inner and initiatory voyage, leading us from the Amalfi Coast to Sicily, through Florence, Rome, Naples, Milan, Turin, Venice, and Lake Maggiore. Steeped in melancholy and suspended in time, the photographs awaken the imagination, telling the timeless story of a passionate love, composed of wanderings through Renaissance palaces and their gardens. Classical sculptures embody lovers, while the journey is punctuated by radiant landscapes and delicate still lifes.

These perspectives, conducive to introspection, are heightened by the sensual details of gestures and emotions frozen in marble, awakening all our senses: we feel the smoothness of stone, the coolness of the Aqua Alta, the sweetness of grapes, and the scent of lemon; we hear the birdsong and the rustle of linen; we sense the caress of a hand and the warmth of the sun on a summer morning.

Each photograph sets the aesthetic of the sublime against emotion, in the grand tradition of Romantic art. And as if to broaden the spectrum of sensations, the materials used vary: stone and silk sometimes replace paper, creating a coherent whole where elements follow, echo, and interlock like pieces of a puzzle. Altogether, they form a story made up of fleeting yet eternal moments, which the photographer captures and offers us as one offers their heart.
Emmanuelle de L’Ecotais

A French-Spanish photographic artist, FLORE was born in 1963. She currently lives and works between her two studios, in Paris and in the Hauts-de-France region.

Winner of the 2018 Marc Ladreit de Lacharrière Photography Award in partnership with the Académie des Beaux-Arts, FLORE works over long periods, often while traveling. Her work has been acquired and exhibited by several institutions, including the Petit Palais Museum, the Bibliothèque nationale de France, the MMP+ in Marrakech, and the Rivesaltes Memorial.

Through refined technical interventions in the darkroom—an alchemist in her own right—FLORE both shapes and reveals the world as it unfolds before her eyes, creating unique images that drift away from conventional photographic reality and form a seamless fusion between substance and form.

She thus questions the photographic medium itself, moving effortlessly between the oldest processes—such as platinum-palladium or cyanotype—and the most contemporary techniques, sometimes combining them, or physically altering her prints with wax, gold, or pigments. FLORE is deeply committed to a search for memory, creating images that attempt to restore truth in the place of a reality that is slowly fading.

Far from nostalgia, her work—tinged with melancholy—challenges the status of the image in our contemporary societies, offering instead an alternative to the world's turmoil by inviting the viewer to step into her poetic universe.

","Lavinia: this Italian-sounding name of Latin origin evokes, on its own, a poetic world, filled with the scents of citrus and honey. With this series, FLORE takes us on a journey reminiscent of a Grand Tour through Italy, much like the one undertaken by Romantic artists of the 19th century. The technique she uses—the soft focus, the grain of the images, their coloration reminiscent of autochromes—all contributes to a sense of travel through time.As always in FLORE’s work, each of her series is rooted in a part of herself, as if it were connected to a greater, older story—as if she had inherited the memories of others and sought to make them come alive for us. Once again, there is something deeply personal here: while clearing out her aunt’s house, she discovered a bundle of letters—traces of a long friendship between her aunt and an Italian woman named Lavinia.Haunted by this correspondence, FLORE has been journeying through Italy for the past ten years. Les rêveries de Lavinia is both an inner and initiatory voyage, leading us from the Amalfi Coast to Sicily, through Florence, Rome, Naples, Milan, Turin, Venice, and Lake Maggiore. Steeped in melancholy and suspended in time, the photographs awaken the imagination, telling the timeless story of a passionate love, composed of wanderings through Renaissance palaces and their gardens. Classical sculptures embody lovers, while the journey is punctuated by radiant landscapes and delicate still lifes.These perspectives, conducive to introspection, are heightened by the sensual details of gestures and emotions frozen in marble, awakening all our senses: we feel the smoothness of stone, the coolness of the Aqua Alta, the sweetness of grapes, and the scent of lemon; we hear the birdsong and the rustle of linen; we sense the caress of a hand and the warmth of the sun on a summer morning.Each photograph sets the aesthetic of the sublime against emotion, in the grand tradition of Romantic art. And as if to broaden the spectrum of sensations, the materials used vary: stone and silk sometimes replace paper, creating a coherent whole where elements follow, echo, and interlock like pieces of a puzzle. Altogether, they form a story made up of fleeting yet eternal moments, which the photographer captures and offers us as one offers their heart. Emmanuelle de L’EcotaisA French-Spanish photographic artist, FLORE was born in 1963. She currently lives and works between her two studios, in Paris and in the Hauts-de-France region.Winner of the 2018 Marc Ladreit de Lacharrière Photography Award in partnership with the Académie des Beaux-Arts, FLORE works over long periods, often while traveling. Her work has been acquired and exhibited by several institutions, including the Petit Palais Museum, the Bibliothèque nationale de France, the MMP+ in Marrakech, and the Rivesaltes Memorial.Through refined technical interventions in the darkroom—an alchemist in her own right—FLORE both shapes and reveals the world as it unfolds before her eyes, creating unique images that drift away from conventional photographic reality and form a seamless fusion between substance and form.She thus questions the photographic medium itself, moving effortlessly between the oldest processes—such as platinum-palladium or cyanotype—and the most contemporary techniques, sometimes combining them, or physically altering her prints with wax, gold, or pigments. 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