Ingrid Dorner
Born in France (in Auvergne) in 1980, Breton by adoption, it is by chance that I moved to Germany, to Munich.
I don't consciously try to add value to my photographs by doing experimental work on them. I just see my raw photographs as blank canvases, creative pulse points. They are living materials that will evolve with me and that I will take on my inner and poetic journey.
I am always happy to develop my photographs myself. Producing my images from A to Z with my old cameras gives me great satisfaction. But very quickly, after having developed my film, then my photographs in my darkroom, I feel a kind of frustration, a feeling of unfinished business. As if I were in the middle of a journey without a destination. When I start my experimental work (like burning a negative, scratching it or dipping a photograph in a chemical bath) I never have the feeling of destroying the image. On the contrary, I build it, I give it its identity, its soul. And suddenly, I know that the photograph is finished when I feel this inner relief and certainty. The image exists in its finality. The journey ends.
I am always happy to develop my photographs myself. Producing my images from A to Z with my old cameras gives me great satisfaction. But very quickly, after having developed my film, then my photographs in my darkroom, I feel a kind of frustration, a feeling of unfinished business. As if I were in the middle of a journey without a destination. When I start my experimental work (like burning a negative, scratching it or dipping a photograph in a chemical bath) I never have the feeling of destroying the image. On the contrary, I build it, I give it its identity, its soul. And suddenly, I know that the photograph is finished when I feel this inner relief and certainty. The image exists in its finality. The journey ends.
I recognize a certain provocation in some of my series. Viceversa series was my first artistic approach and the common thread running through all the others.
Being on the edge between comfort and discomfort, poetry and violence, the botched photo and the perfect composition... Putting the viewer in a position of discomfort appealed to me, because it created a powerful dialogue and communication between me, who was constructing the picture, and the viewer, who was going to destroy my image in order to create his image anew through the prism of his own existence. What the viewer sees is no longer what I saw and captured. He turns the reality into a scenario, his scenario. The spectator thinks he's the receiver, whereas it's he himself who's writing the staging orchestrated by his own emotions.