“At first, Amandine Mohamed-Delaporte’s documentary photography posits itself as a basis for documentation, research, recording – then something else happens. The lighting work no longer only applies to the space of the picture but extends beyond it as a way of showing, exposing and sculpting. Urban sprawl, city planning and modern buildings – spaces that many of us are familiar with – are her fields of research. While the artist’s first intervention is to document these peripheral locations, her work then continues in the studio, where she experiments with her findings to the point of installation or sculpture. Her pictures come down from the walls and take their place in space. They are images that become embodied in volumes; they are materialised compositions of light. There are effects, which, when added to the image to highlight a detail, become the heart of what there is to see. […]
Sometimes, the photographed material becomes the tangible material of the piece, an attempt at experimentation that has boiled over onto itself. A very strong sense of structure arises and the assemblage takes place. Used in their raw and identifiable form, concrete, plaster, Plexiglas and gelatine generate a straightforward, direct relation to the viewer’s body. One is invited to partake in the freedom produced by this regained malleability of urban spaces and in whatever might almost illicitly develop there. Technique can in itself become the subject of a piece.” […]

Excerpt from Diffraction – une pratique photographique expérimentale, Émilie Saccoccio, 2019
Translated by Lucy Pons, 2020