Paru le 26/06/2018 | Broché
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préface de Mary Ann Caws | postfaces de Geneviève Guetemme et Alain Sadania
Elisabeth Waltregny aborde remarquablement la photographie dans son rôle primitif : inscrire de manière permanente l'impermanence de la lumière, en la conjuguant de manière si singulière avec son propre temps, sa propre histoire puis finalement la nôtre.
- Alain Sadania
Voir et partir : c'est ce que fait la petite fille au miroir : démultipliée à l'infini dans un espace blanc, quasi immatériel. De place en place, le jeu des entrecroisements met l'image en mouvement et produit une expérience de la profondeur instable et éphémère, ouverte à l'excès, tendue vers les confins de la visibilité. Le travail d'Elisabeth Waltregny montre ici une image qui cherche à advenir en multipliant les leurres et en faisant exister les formes au péril de leur disparition.
- Geneviève Guetemme
A young girl's view of an ongoing life peopled only by objects, right there before her and before us, those sights accumulating in a haunting narrative by a master photographer as if a whole world were to be shown from her point of view, singular in its affect and needful of no plot line, like a whole world sharp in its outlines with a blur of light here and a strand of hair there, offered freshly...
- Mary Ann Caws
Almost in the mode of a photojournalist, Elisabeth Waltregny has begun documenting her journeys through a province which is at once fantastic and actual, revealing its landscape and the alienated shades who occupy it. This is a captivating odyssey, echoing Erewhon, Alice Through the Looking Glass, and The Divine Comedy.
- Marc Atkins
Elisabeth Waltregny's photos demonstrate every poet's aim, let alone every photographer's : to give the reader a perfectly framed experience of something we may have seen time and again, but never in quite this way.
- Jane Monson
It is said that the art of photography is about capturing the moment, the immediate. Elisabeth Waltregny's imaginative and suggestive photos do seize the unspoken and non-discursive mystery of life in a sudden beat of clock time.
- Niklas Salmose
The camera's « evidence of the real » in Elisabeth Waltregny's work produces social evidence : of acts of seeing, of the seen, of virtual subjectivities, of a political condition - abstract, compounded, figural - telescoped in a literal « placement in abyss » that is never less than concrete in its immediacy.
- Louis Armand
