# Prophecies

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Photographic set of 22 silver photographs black and white and color in medium format (120 film size).

**Sizes and techniques:**

Hahnemühle Fine Art Pearl 285gsm, pigment inks H 39 X L 39 inches, Dibond mount on aluminum, American box frame in exotic wood, H 44 X L 44 inches.

Limited edition of 5.

**Price: € 3,900 incl**. More information.

Hahnemühle Fine Art Pearl 285gsm, pigment inks H 12 X L 12 inches, Dibond mount on aluminum, American box frame in exotic wood, H 16 X L 16 inches.

Limited edition of 5.

**Price: € 1,250 incl**. More information.

A bride smeared in blood and pierced by barbed wired, a drowned woman waving from the deepest water, a child with inhuman eyes watching us from behind a window, translucent and blurred Beings glide through the busy narrow streets of a modern day China. Thus Prophecies encloses us.

For the last ten years, Mireille Loup has been creating photographic works that could be called ghost fictions.

Using photomontage she assembles, arranges, reframes in order to capture in one image an unreal narrative. This recent work logically follows previous works such as Elusions (2005), Nocturnals or The Lost Boys (2007), Mem (2009), The Others (2011), 53.77 (2012), There (2012), works which led to several publications and exhibitions in France and abroad.

Her latest series Prophecies which was shot in China, in Shanghai and Xian Cheng (near Suzhou) transports us to a fantastic land.

Amongst temples, water sceneries, disembodied characters and mysterious titles that evoke the sixty-four hexagrams of I Ching, Prophecies talks to us about the wandering presence of ancestors, about the invisibility of things, about the Book of Changes from the Taoist tradition, about the non-action of Chinese thinking. Her work questions our perceptions, develops aesthetic hypotheses based upon these fugitive and briefly destabilising flashes we sometimes perceive, letting us see a possible window open onto another world.

In order to allow us to enter these inner journeys, Mireille Loup takes her inspiration from eastern films that speak of anticipation and the paranormal, where the dead are represented in various aesthetics, occasionally strangely Caucasian, as well as from the fantastic American movies of the fifties.

Having left for an artist residency in China in 2010, she comes back to find most of her 6X6 films fogged when she has them developed upon her return to Europe. A white and red spectrum covers almost every negative, though not all. Three years later, while rereading these images, she decides to acknowledge this turn of event and to recognise in it a signifying hazard, a synchronicity to use a term by Carl Gustav Jung who studied Chinese philosophy.

She unearths the negatives, dusts them and mixes in her own ghosts, thus exhuming various characters photographed during the last 10 years, one being herself as a drowned woman.

A reference to Hyppolite Bayard’s Self-Portrait as a Drowned Man, the first self-portrait in the history of photography. Once again, Mireille Loup pays homage to our ancestors.

Mireille Loup, Arles, May 2014.

Models: Virginie Robert child and teenager, Lasko Lascaridis, Léan Briet, Côme Jourdois, Marianne Mazet, Mireille Loup.

Warm thanks to Janine Lajudie for the English translation.

# Prophecies

Read the text | Back to gallery

H 30 X L 30 cm /The Second Marrying Maiden, H 12 X L 12 inches.

H 100 X L 100 cm et H 30 X L 30 cm / Youthful folly, H 40 X L 40 inches and H 12 X L 12 inches.

H 100 X L 100 cm et H 30 X L 30 cm.Measure, H 40 X L 40 inches and H 12 X L 12 inches.

H 100 X L 100 cm et H 30 X L 30 cm / Just Confidence, H 40 X L 40 inches and H 12 X L 12 inches.

H 100 X L 100 cm et H 30 X L 30 cm / Already Fording, H 40 X L 40 inches and H 12 X L 12 inches.

H 100 X L 100 cm et H 30 X L 30 cm / The Fowler Net, H 40 X L 40 inches and H 12 X L 12 inches

H 100 X L 100 cm et H 30 X L 30 cm / Nearing, H 40 X L 40 inches and H 12 X L 12 inches.

H 100 X L 100 cm et H 30 X L 30 cm / Pervading, H 40 X L 40 inches and H 12 X L 12 inches.

H 100 X L 100 cm et H 30 X L 30 cm.Willing Submission, H 40 X L 40 inches and H 12 X L 12 inches.

H 100 X L 100 cm et H 30 X L 30 cm / Abundance, H 40 X L 40 inches and H 12 X L 12 inches

H 100 X L 100 cm et H 30 X L 30 cm / Augmenting, H 40 X L 40 inches and H 12 X L 12 inches.

H 100 X L 100 cm et H 30 X L 30 cm / Conjoining, H 40 X L 40 inches and H 12 X L 12 inches

H 100 X L 100 cm et H 30 X L 30 cm / People Clan, H 40 X L 40 inches and H 12 X L 12 inches.

H 100 X L 100 cm et H 30 X L 30 cm / Without Embroiling, H 40 X L 40 inches and H 12 X L 12 inches.

H 100 X L 100 cm et H 30 X L 30 cm / Not Yet Fording, H 40 X L 40 inches and H 12 X L 12 inches

H 100 X L 100 cm et H 30 X L 30 cm / The Taming Power Of The Great, H 40 X L 40 inches and H 12 X L 12 inches.

H 100 X L 100 cm et H 30 X L 30 cm / Swallowing, H 40 X L 40 inches and H 12 X L 12 inches.

H 100 X L 100 cm et H 30 X L 30 cm / Darkening of the Light, H 40 X L 40 inches and H 12 X L 12 inches.

H 100 X L 100 cm et H 30 X L 30 cm / Viewing, H 40 X L 40 inches and H 12 X L 12 inches.

H 100 X L 100 cm et H 30 X L 30 cm / Attending, H 40 X L 40 inches and H 12 X L 12 inches.

H 100 X L 100 cm et H 30 X L 30 cm / Wanderer, H 40 X L 40 inches and H 12 X L 12 inches.

H 100 X L 100 cm et H 30 X L 30 cm / The Marrying Maiden, H 40 X L 40 inches and H 12 X L 12 inches.

Photographic set of 22 silver photographs black and white and color in medium format (120 film size).

**Sizes and techniques:**

Hahnemühle Fine Art Pearl 285gsm, pigment inks H 39 X L 39 inches, Dibond mount on aluminum, American box frame in exotic wood, H 44 X L 44 inches.

Limited edition of 5.

**Price: € 3,900 incl**. More information.

Hahnemühle Fine Art Pearl 285gsm, pigment inks H 12 X L 12 inches, Dibond mount on aluminum, American box frame in exotic wood, H 16 X L 16 inches.

Limited edition of 5.

**Price: € 1,250 incl**. More information.

A bride smeared in blood and pierced by barbed wired, a drowned woman waving from the deepest water, a child with inhuman eyes watching us from behind a window, translucent and blurred Beings glide through the busy narrow streets of a modern day China. Thus Prophecies encloses us.

For the last ten years, Mireille Loup has been creating photographic works that could be called ghost fictions.

Using photomontage she assembles, arranges, reframes in order to capture in one image an unreal narrative. This recent work logically follows previous works such as Elusions (2005), Nocturnals or The Lost Boys (2007), Mem (2009), The Others (2011), 53.77 (2012), There (2012), works which led to several publications and exhibitions in France and abroad.

Her latest series Prophecies which was shot in China, in Shanghai and Xian Cheng (near Suzhou) transports us to a fantastic land.

Amongst temples, water sceneries, disembodied characters and mysterious titles that evoke the sixty-four hexagrams of I Ching, Prophecies talks to us about the wandering presence of ancestors, about the invisibility of things, about the Book of Changes from the Taoist tradition, about the non-action of Chinese thinking. Her work questions our perceptions, develops aesthetic hypotheses based upon these fugitive and briefly destabilising flashes we sometimes perceive, letting us see a possible window open onto another world.

In order to allow us to enter these inner journeys, Mireille Loup takes her inspiration from eastern films that speak of anticipation and the paranormal, where the dead are represented in various aesthetics, occasionally strangely Caucasian, as well as from the fantastic American movies of the fifties.

Having left for an artist residency in China in 2010, she comes back to find most of her 6X6 films fogged when she has them developed upon her return to Europe. A white and red spectrum covers almost every negative, though not all. Three years later, while rereading these images, she decides to acknowledge this turn of event and to recognise in it a signifying hazard, a synchronicity to use a term by Carl Gustav Jung who studied Chinese philosophy.

She unearths the negatives, dusts them and mixes in her own ghosts, thus exhuming various characters photographed during the last 10 years, one being herself as a drowned woman.

A reference to Hyppolite Bayard’s Self-Portrait as a Drowned Man, the first self-portrait in the history of photography. Once again, Mireille Loup pays homage to our ancestors.

Mireille Loup, Arles, May 2014.

Models: Virginie Robert child and teenager, Lasko Lascaridis, Léan Briet, Côme Jourdois, Marianne Mazet, Mireille Loup.

Warm thanks to Janine Lajudie for the English translation.

H 30 X L 30 cm /The Second Marrying Maiden, H 12 X L 12 inches.