Light plays a predominant role in what Joceline Chabot offers us. Given the subtlety of the interventions, one can question and doubt when setting foot in the exhibition space. Nothing assails us here. What is there to look at? The discreet and evanescent nature of what there is to see imposes a certain attitude on us. A strategic approach and multiple moves are necessary to capture these fleeting reflections. There are images and motifs on these walls, but their almost intangible nature gives them a certain immateriality.
This limit of the perceptible indicates a threshold. And when we grasp these images, what they represent, and the words embedded here and there, a very special meaning is offered to us. These images are in the public domain, so they concern us. Joceline Chabot traffics them from photographs published in newspapers. They represent refugees or victims of ethnic or territorial conflicts. The visual off-field then makes other borders resonate, strongly constructed but punctuated by porous zones, between individuals, societies and cultures.