Carole Bellaïche, LaCovid and the Paris Gardens
“It wasn’t long ago in Paris, a time when you couldn’t go out of your house, it was forbidden because it was dangerous. What was that time? Another one than mine, but it was last month,” says Carole Bellaïche, referring to her sometimes “moved” or split holds – which is not insignificant for the effort of echo that this technique induces.
Undoubtedly, as she drove across Paris subjected to a new plague, the creator unconsciously reconnected with deeper threads. Through the gates of the Buttes Chaumont gardens, the photographer said she glimpsed “a kind of untamed jungle.” This fleeting vision fascinated me. Like an impression”.
Through this freeze of the image reappears what Proust called “pure time” but just as much blind mirrors of the past. And through various grids and without looking for a pass Carole Bellaïche satisfied a desire she had always had: to photograph gardens.
She made it through the grids as she could and using double exposure on her camera. And suddenly the superimposition allows the unconscious to say what the words barely evoke.
Venturing to make images that she could not totally control, and by superimposition, using silver and no feet, through the grids and far from any carnal existence, the creator does not refer to an idyllic presence of the landscape.
Another presence takes place: more deaf, more memorable. It’s as if once again, in the absence of human presence and as Reggiani sang “the wolves have entered the city”.