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Prophecies
Read the text | Diaporama | Back to gallery

  • Deuxième épousée
  • Jeune Fou
  • Mesure
  • Juste Confiance
  • Déjà  Traversée
  • Filet d'Oiseleur
  • Approcher
  • Prospérité
  • Se Modeler
  • Abondance
  • Augmenter
  • L'influence
  • Gens du Clan
  • Spontanément
  • Pas Encore Traversée
  • Grand Apprivoisé
  • Nourrir
  • Lumière Obscurcie
  • Regarder
  • Attendre
  • Voyageur
  • L'épousée

Photographic set of 22 silver photographs black and white and color.

Sizes and techniques: 
Hahnemühle Fine Art Pearl 285gsm, pigment inks H 12 X L 12 and H 39 X L 39 inches, Dibond mount on aluminum, American box frame in exotic wood, H 44 X L 44 inches and H 16 X L 16 inches. Limited edition of 5.

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

Deuxième épousée
Deuxième épousée

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

Jeune Fou
Jeune Fou

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.

Mesure
Mesure

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.

Juste Confiance
Juste Confiance

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.

Déjà  Traversée
Déjà  Traversée

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.

Filet d'Oiseleur
Filet d'Oiseleur

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

Approcher
Approcher

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.

Prospérité
Prospérité

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.

Se Modeler
Se Modeler

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.

Abondance
Abondance

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

Augmenter
Augmenter

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.

L'influence
L'influence

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

Gens du Clan
Gens du Clan

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.

Spontanément
Spontanément

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.

Pas Encore Traversée
Pas Encore Traversée

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

Grand Apprivoisé
Grand Apprivoisé

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.

Nourrir
Nourrir

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.

Lumière Obscurcie
Lumière Obscurcie

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.

Regarder
Regarder

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.

Attendre
Attendre

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.

Voyageur
Voyageur

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.

L'épousée
L'épousée

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.

Sizes and techniques: 
Hahnemühle Fine Art Pearl 285gsm, pigment inks H 12 X L 12 and H 39 X L 39 inches, Dibond mount on aluminum, American box frame in exotic wood, H 44 X L 44 inches and H 16 X L 16 inches. Limited edition of 5.

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.