This long-term photographic work began in 2008 and ended in 2019. But the birth of this series as presented
here took place in 2015, after the attacks of November 13. An event that resonated strongly and aroused a
deep fear of death in the artist. She thought of this series as a large self-portrait that aims to be universal,
with the idea of presenting the images as if they were the last. Her images are thought out, written – a bit like
the automatic writing of the surrealists – then drawn. The photographic act comes at the last stage. This
creative process being long, she produces very few images. It is a question here of a double passage, that of
the mental image to the image
“With my photographic chamber I carried out excavations to constitute an intimate reliquary. An inner
archaeology. Where the borders are distorted, where the beyond prowls to frame a world between two
waters.
I plunged inside, into an underground world, into a buried dream where roots and dreamed memories
mingle. And it is again borders and perceptions that are in question. I brought out symbolic objects and bits
of body to recreate in the crypt of the workshop fragments of rites, bestiary, inventory of vestiges. Mental
pictures.”
- Sara Imloul