Based on the trilogy, nature, architecture, inhabitant, Camille Hervouet's photographs question the sensitive frictions within a territory, tangible or not. By a physical and mental distance, she underlines the latent tension of the images, the duality between the reality and the fantasy. She relies on a rigorous protocol led by the technique of the analog photography, which she also questions. If she revisits historical practices of institutional or amateur photography, it is to reveal and interpret their generic nature and understand how they determine an era. In series of images where the composition reveals a singular or universal dimension of people and places, she tries to clarify a resistant reality.
In the project Géographie intime, Camille Hervouet associates in a double pendulum two topos of the history of photography, the family portrait and the archetypal cliché of the countryside, with two topos of the landscape, from the bocage to the sea front. During a year, she photographed her family and friends, and familiar areas. These images, full off signs and lines, maintain a tension between complexity and precision.
For this series, the artist use a rigorous device attached to the technique of the analog photography, which impose a long and slow temporality. On top of this depth of time, distance and light were always identical, allowing her to extricate herself of her preconceptions so as to understand how her childhood territories are functioning, evolving and conflicting. Articulating her images in a panoramic sequence, she makes resonate together an intimate story and a collective history.