Every day, since 2003, Guillemette Minisclou illustrated the essence of her day in a photo. The result composes a collection of self-portraits declined in everyday life.
Guillemette Minisclou began the photography in amateur while she studies English in the university. Every day, with her Polaroid, she decides to extract from her everyday life paper, a cliché. " I chose the photography as its intrinsic quality of description and I tempt through her to write and to sublimate the everyday life. I capture the visual essence of my day, I embellish with images the tracks of my thoughts, my meetings with the outside either internal (state of mind) ".
When we look at her photos, it would be attractive to stop in the raw simplicity of the subject. It would doubtless be an error. There is not only in these images an absolute commonness of the subject. A grace and a particular aesthetics gets free of it. The visual writing of Guillemette Minisclou is poetic. She retranscribes as well her actions as the humor in which she moves The purpose is not the beautiful image, either the beautiful composition, or the beautiful subject. The purpose is to say the day state, the day detail, the day track. This daily concern contributes to the narrative of a history, an intimate, obsessional and alive history. The central figure of the history being the subject of the self-portrait.
Her glance is not only behind the objective, it is also in front of, looking at us. The artist takes herself in the narcissistic game of considering looked. She is everywhere. She stages, she is the narrator of her life of artist, pupil, woman. Because Guillemette chose to enter the image of her everyday life. The choice of the self-portrait is not harmless. It is the art to photograph the life which takes place as a length-measurement, without editing, delivered brutally with its vaguenesses, its shadows, its failures, all which makes that the life is photographed here.
Guillemette lets us imagine the rest, what it happens meanwhile, between two clichés. And so she registers in us the fiction of her life and creates an alternative version of her images present in mind of every spectator. To stress the puzzling effect which shows her to us from day to day, Guillemette takes care of leaving us a legend. She is obviously in the representation. It implies that on no account the spectator will have no access to the truth. It is only its choices added to ours that will compose the narrative of this imaginary biography.
Programs
When we look at her photos, it would be attractive to stop in the raw simplicity of the subject. It would doubtless be an error. There is not only in these images an absolute commonness of the subject. A grace and a particular aesthetics gets free of it. The visual writing of Guillemette Minisclou is poetic. She retranscribes as well her actions as the humor in which she moves The purpose is not the beautiful image, either the beautiful composition, or the beautiful subject. The purpose is to say the day state, the day detail, the day track. This daily concern contributes to the narrative of a history, an intimate, obsessional and alive history. The central figure of the history being the subject of the self-portrait.
Her glance is not only behind the objective, it is also in front of, looking at us. The artist takes herself in the narcissistic game of considering looked. She is everywhere. She stages, she is the narrator of her life of artist, pupil, woman. Because Guillemette chose to enter the image of her everyday life. The choice of the self-portrait is not harmless. It is the art to photograph the life which takes place as a length-measurement, without editing, delivered brutally with its vaguenesses, its shadows, its failures, all which makes that the life is photographed here.
