The Mirage(s) series was born out of my desire to express the feeling of wonder. When an image breaks in and, by a miracle, because you are sensitive at this moment, because you are a poet, because you are an aesthetic, it has amazed.

This is your inner eye that sees the image as an icon. How can one testify as closely as possible to this feeling?

Since the entrant is an image, since it is a place and a moment, why not the photography to capture this moment? But capturing the outer surface is not enough. Skin of the bear without the beating heart. The soul seems to have disappeared. It is only the appearance; what about the magic?

My first compositions

So it was out of concern for realism, to testify as close as possible to this presence that I began to compose my images.



7 Montparnasse - Lamarcelle (2010)

Brûlerie de l'apprenti - Lamarcelle (2009)



With more complexity in terms of emotion, my compositions went closer to the feeling I wanted to account for. I then explored the effect produced by multiplication.

A first axis of symmetry

By duplicating a source image by symmetry on one of its sides I reconstituted a continuous form with two faces, accompanied by the artifice at once wonderful and disturbing of perfect equality, touched by an unreal light coming from both sides.

It is a path that I borrowed for a whole series of works which constituted a first coherent whole exposed under the name of Poèmes / plastic.






Noir oiselle
- Lamarcelle (2010)



Whatever my interventions on the image, be it accumulation, change of scale or duplication, my work kept this in common with figurative photography: it is its natural orientation, with a high and a bottom, that is symbolically a ground and a sky.

It is precisely this classical orientation which was the last barrier to be raised in order to attain the goal I had set for myself.

Mirage !

One day I was busy around the African basket hanging in front of my window because the sunlight seemed to set fire to it. The curtain was almost glowing while the blades of this Malian wicker were heavily darkened by the backlight.

I knew that a detail could speak louder than a set. I put in the closest: the sun, the color and a few black lines. What a time of development!

It is probably because this photograph was relatively abstract that I was able to free myself from the usual orientation. The sun was not placed at the top but behind. He was not the star that appeared in the sky, it was a light. The object was no longer anything but form and color. Thus the compositional play was naturally released. It was no longer a matter of representing anything but expressing something, or even simply composing a form, like a child playing the puzzle.

A second axis of symmetry

After having made a first symmetry on the vertical axis as I was used to, I did not want anything else, I did not wish other forms than those I had under the eyes. But I had the need to extend its surface. It was then that I realized a second symmetry, on the horizontal axis this time. My puzzle was over. Mirage!





Vitraux à Bamako
- Lamarcelle (2010)

Through this work I seemed to have summoned all the African statuary. And if it was not exactly what my eyes had seen through the basket, it was indeed what my whole being had contemplated.

For the first time I really produced an image that had the exact power of my feeling of wonder.

In revealing the soul that surrounded this still-life I had not only shown the spirit of the basket, but I had also discovered a structure of composition proper to my quest. Then I proposed to myself a systematic approach with which it would be possible to track the events when things had this kind of magic.

About subjects, no a priori come to orient my choices. I do not decide in advance what is wonderful and what is not. No method or place to optain wonders, but simply live in the environment while waiting that the miracle happens again, knowing that I now have a means of capture.

Cedric Lamarcelle - atelier @