"I was there, I set in" wonders about our link to family photography and the increasing importance of the photographic medium in our contemporary culture. In this serie, portrait and auto-portrait are being treated as time archetypes. Old negatives are being utilized to set oneself in in an absurd, incongruous way. "I was there, I set in" is a serie of narcisistic pictures, a peculiar look on reality, a questioning on the need to focus one's attention on onself and to confirm one's existence in connection to selfie mania.
"When i was about 16, my neighbour, a priest, gave me a little box of glass negatives from his family amateur photographer. Without telling me the what, when or where [/giving me any context], just that little box. The negatives were rather traditional: pretty casual end of 19th century portraits, very few complete scenes. Events like communion and representations of families in their sunday outfit. I started to wonder who that photographer was, whose only trace was a shadow on a negative. By dint of wondering, trying to read the pictures and to answer my questions, I decided to take ownership of this family's story, this past, and this lost memory."
In a time when Selfie became the photographic technics most representative of contemporary visual forms, the serie "I was there, I set in" is a reflection on the egotism and the ideology of the confirmation by the self-photography leading to the question of false appearances and luring towards any image.

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