When we paint or photograph a still life, we compose it and this composition plays the rôle of the model for the final image. With the scanner is the side invisible to the eyes that will appear on the image, so this technique goes against the classical approach to still life transporting it to contemporary format by virtue of its medium.
Still life has been not only a work where composition plays a main rôle, but also the light. This last element will define an ambience, a particular sensibility and will strongly influence the perception of the image self. Since a scanner works with light, it allows multiple interesting visual experience. The traces left by it during the creation of the image allow us to identify the technique and opens the door on the comprehension of the concept behind this work. The working surface is limited. The selection of the objects used in Mathilde’s composition is picked out of a daily use array: vegetables, minerals, recycled materials, food, etc. The still live via scanner raise the object from common to subject of art piece.
Sometime the materials chosen by the artist are decomposed, broken down to a million pieces, or smashed by the scanner self. Some other they are adjusted with extreme delicacy on the media to preserve their integrity.
These experimentations are tests to determinate the resistance’s borders of the material or out of respect for its beauty and inner fragility.
Sometimes will be the whole content of a drawer to be pour down the scanner as an aleatory choice. This will allow to create images connecting object that not necessarily are bond together, imposing unpredicted order and a balance in the image. This takes the narrations to new frontiers, living the connections, the interpretations and the emotional responses entirely to the observers.