Through this series, E. Juliette questions the relationship between human beings and nature in the era of the Anthropocene.

Inspired by the pain caused by the degradation of our planet, these images remind us that we are interconnected with a precarious living system.

Within the series, the " access denied " sequence is composed of fatalistic fictional photos in the manner of an authentication error or a firewall, as if nature were refusing access to human beings, through contempt and mistreatment.

Solastalgia and Vulnerable Forces is a dialogue between two sufferers. Through self-portraits as Gaia and MRI scans where the artist's own destruction echoes that of the Earth, it addresses our vulnerability. Some images evoke vanities and the Memento Mori.

Furthermore, like Gina Pane (1939-1990), who opened her body " for the love of you, the other ", these images are an invitation to face what connects us, to become aware of the wounds we share with the living and of the profound union between humans and non-humans.

Despite our flaws and even if individually we are only fragile beings, by uniting and reasoning for the good of the environment, we can do great things: together, we are the guardians of life.

 

This work, with its incisive approach, can unfortunately generate eco-anxiety, but it aims to be part of an art of care and invites a sensitive reconnection.

 

This work is an ecological art that is anchored in an eco-design approach, favoring the use of existing resources, without additional impact . All these photographs are made with a simple mobile phone, captured during walks in the forest of Fontainebleau, where E. Juliette lives, and through repeated shots of the horizon visible from her studio. They explore the tensions between nature and civilization, where saturated lines and grids translate both suffocation and the barriers, real or imaginary, that distance us from our environment.

Without the need for additional equipment, these images are then reworked using standard software, already available at home, thus extending the commitment to a creation that works with what already exists.

 

These works exist mainly in digital form in order to limit their carbon footprint and can be projected.

Some photographs have been printed in a virtuous manner in France on natural fabric, 100% Oeko-Tex certified cotton, with environmentally friendly organic inks or on PEFC and FSC certified wood with inks that do not emit VOCs.