THE DOMESTIC LIFE

In The Domestic Life, forms are embodied differently through photography which captures the acceleration of degradations and deformations. Halfway between a Muybridge or a Man Ray, it is a question of stopping the time of a body, of a thing in movement, before it erodes, deforms, disintegrates or melts, and in return subjecting it to an arsenal of hazards proper to the photographic process. This medium, which is supposed to be objective in the face of reality, is rendered malleable and imperfect, thanks to a range of processes of deformation, low resolution, distortion and movement, which introduce a certain degree of abstraction and unpredictability into the image. Inès Mélia brings to light what constitutes the narrativity and plasticity of the forms themselves, which she subjects to different effects of distortion and doubling to reveal other possible states of the visible. In this regard, she cultivates a degree of imperfection, even the possibility of a failure, by diverting the codes of photography, by lowering or blurring the resolution of the image to take it to the territories of abstraction. The objects, while strongly anchored in the ordinariness of everyday life, are for Inès Mélia the vectors of a new poetry. She aims at reinventing the act of creation through the prism of the absurd, of dreams, of the unconscious, and thus summoning another experience of reality. Inès Mélia is playing with the comforting, emotional, almost regressive character of these cheeses. The round, soft and gentle shapes of these mimolettes and goat cheeses, displayed in a amusing way in her images, offer the possibility of creating a world from almost nothing. Text written by Jérôme Sans.