The photographic series starting point is the fascination for stories and for the “other”. The project, titled "Les lundis, miracle", is an essay that registers spaces, bodies,  and architectures of a territory that has been mythologized, from a viewpoint that voluntarily places itself on the margins of the "extraordinary".


















In the mid-nineteenth century, Bernadette Soubirous claimed to have had 18 visions in Lourdes, a city in the French Hautes-Pyrenees. The miracle stories that were told, happened after this and turned a teenage shepherdess into a mystic, and the town of Lourdes into the world's second-largest Catholic pilgrimage site.



The result is a visual essay that moves within the limits of the documentary logic and reflects on the photographic genres and on the image itself, choosing for this a territory in the Pyrenees that seems to remain in a constant state of waiting.



The photographs are questions that inquire about where is the periphery located, and where the land of the sacred or the miraculous ends. At the same time, they are intuitive responses to the environment. The tension between the ideas that we create about certain places and the reality itself opens the question; How much do we have to know about a place to recognize it through its own images?



The mundane day-to-day life of Lourdes coexists with pilgrims who come to the town asking for the "impossible", often in very dramatic circumstances. The constructed portraits of people that are foreign to these tragic realities represent common and everyday stories, by taking into account the context of the town, the privilege of normality seems to become disrespectful.  In this city, which presents itself as vulnerable and unstable, the images aim to represent reality in a more symbolic than certain way, and at the same time, it confronts my own prejudices as an author against a place I had never visited, thinking about the life we have in common and the places we inhabit together,  with all of their contradictions. While dogmas are presented as the only truth, skepticism allows for the possibility of multiple answers and possible truths.



“Les Lundis, miracle” is a photographic exercise that assumes the uncertain, the imperfections of our context and of the photographic medium itself, where the relations between reality and representation are continually being stressed.



The title of the project (a nod to one of Jose Luis Berlanga's films "Los Jueves, milagro") alludes to the expectations of happiness to which we are subjected and that do not adjust to real life, a life that is neither idyllic nor a myth.
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-Ongoing series-



La série photographique enquête sur elle-même en se demandant comment les images « resignifient » quelque chose à travers le temps. Pendant 2 ans, l'autrice a collecté des photographies de lieux qui, parce qu’elles étaient prises pendant des déplacements professionnels, furent de brefs passages, ainsi que des instantanés de sa vie privée pris au retour chez elle.
Le projet, séquencé sans ordre narratif linéaire, combine des images de familiers et de connaissances, avec des personnes et des espaces étrangers à l'auteur. Le tout dans un récit contemporain dans lequel les frontières disparaissent entre ce qui est personnel et ce qui ne l'est pas.
Est-ce un projet personnel ou est-ce une fiction ?

"Manuel des gestes russes" fut divulgué à la fin d’une longue relation de couple de l'auteur. Le projet se convertit inévitablement en un essai visuel qui aborde la façon dont le fictif fait partie des images que nous produisons et contemplons, en un exercice photographique qui assume l'incertitude de notre contexte et du médium photographique lui-même, où se crispent les relations entre réalité et représentation.
Le titre du projet suggère une distance ironique nécessaire avec ce qui semblerait être un journal intime.