Anaïs Boileau composes her images with scraps of paper, plants, canvas and salvaged materials. The whole creative process is conceived in the same place. Her studio is located in an old farmhouse where she composes and realize her photographs by using this place as a living space to create. She is interested in the raw object, for its materiality, its form; in the optics to divert it from its use. The object becomes a surface, multiplies under the effect of the sun. She uses the color as a revelation of light. The vivid shades create rhythm in the image. Some of the more pictorial images are created from photographed paintings where the physical matter of the paint and the grain of the paper contrast with the colored touches of digital paint. Together, these photographs form a body of images that stand on the blurred edge of reality and abstraction. The image surfaces are intertwined and various textures are created by the different production techniques. She works on her images intuitively, the images are composed and decomposed in effects of surfaces and layers. The shapes seem to move in a drunken rush of color. The long and marked shadows imply time, a precise moment like a summer memory. In an evocation of sensations, we feel the salt, the humidity and perhaps a little of the Mediterranean. And this sun, bright, burning, which underlines everything and circles it with black. A sun which was already at the very heart of her first series Plein Soleil.

The work of Coline Jourdan questions the perception and representation of toxic and its relationship with matter, space and image. Her projects engage a reflection on its presence in our daily environment and on its imperceptible impacts. If toxicity is generally not seen, if the danger it represents is often the object of denial, art can be a tool to make it visible and raise awareness.

Committed to the defense of the environment, the photographer nevertheless take care to approach the question without falling into certain commonplaces of ecology. She keeps an ambiguous relationship with her subject, placed between concern about the environmental mutations due to the Anthropocene and fascination for the esthetic transformations that chemistry can create. Before she became aware of the ecological troubles we are facing, she was fascinated by the mechanisms of revelation of photography resulting from chemical reactions. Chemistry then appeared to her as a pharmakhon: a destructive poison containing within itself the tools of remediation, of a positive transformation of matter.

Her photographic project includes a part of formal experimentation. She creates various manipulations that disturb the surface of the photograph in order to create spaces of visual experiences. What is represented there is altered, mimicry and photographic realism are both concretely damaged and theoretically questioned.

Her choice to confront toxic material, rather than avoiding it or criticizing it from the outside, also materializes through fieldwork. Going to contaminated sites, she then reworks the images to modify the perception that we can have of them. This confusion thrown into the representations questions the "vision" of human on their environment, in the double sense of the term, to occupy the interstice which separates the physical space from the mental representation.

Reactivating the codes of romantic imagery like those of documentary realism, Coline Jourdan finally subverts their own effects in a poetic body-to-body, which questions a biased, manipulated and altered vision of the world and nature.

For several years Nolwenn Brod has been exploring the dimension of the encounter in a phenomenological approach in search of form in the sense of behavior. The people she meets by chance are photographic bodies and social bodies. Each portrait, each individual case is political, it becomes indispensable, necessary. The meticulous observation of the significant gestures of daily life, the micro-sensation, the micro-event, the lability of the present moment between beings and their ontology nourish her work often accompanied by literature and writing. It is often a question of the representation of an interior combat, of a duel, of the forms that the forces created in their conflict.

"What can a body caught between other bodies, the world, and itself." ‍Jean-Pierre Salgas

Pauline Hisbacq's work, in photography or through the manipulation of archival images (collages, montage), evokes in a poetic way the questions of youth, desire, rites of passage and resistance. She looks for feelings in forms and figures. She explores today what links the intimate and the political, the myth and the contemporary.

The project Songs for women and birds is a set of collages elaborated from the archive images of the Greenham Common Women's Peace Camp (1981-2000). Here, ordinary women fought peacefully, in single gender, against the installation of nuclear missiles by the United States, right here in England, which contributed to maintaining the terror of the Cold War. They used to sing in resistance to the police, and more generally to the world of domination, for the preservation of future generations, the hope of peace, the protection of humanity, and the respect of nature.

The collages focus on the way in which women inscribe their bodies in a gesture of struggle at the antipodes of the current manifestations. The first stake to communicate their revolt was to be always peaceful, even in front of the police repression. It was thus necessary to weld the bodies, in the tenderness, to make front vis-a-vis the domination which they denounced and which attacked them.

Scissor cuts are made on the archival images of the struggle, to show the body language specific to the women of Greenham.