Since 2002, Delphine Balley has been conducting research through photographic sagas on the notion of personal and collective identity. 
By exploring the community in its deepest recesses, she extracts an imaginary society, fantasized, at the edge of cinematographic fictions.
From her family stagings to the forgotten popular beliefs, the artist digs an artistic universe at the crossroads of traditional rites and initiatory tales. She plunges the spectator into intimist huis clos, the spaces tip over into moving pictures where the invisible forms cohabit with the symbolic forces of our worlds. Her practice then experiments with physical/psychic interior spaces.
Each artistic project is the object of a meticulous investigation in the scientific, sociological, ethnographic, religious and esoteric fields. His investigations exorcise ancestral forces to summon them in a current artistic practice. 
This dive in the popular cults, for some unpopular, crystallizes in the artist in the essence of the masquerades. Indeed, reveals itself in its productions of the muffled comedies, deceptive settings constituting burlesque scenes, extravagant to create ironic ceremonies even absurd. The artist mischievously plays with all these entries to deliver allegorical, mythological panoramas.
But Delphine Balley does not try to bring to light forgotten traces, she draws from these material-imaterial heritages to invite them to her own contemporary craft know-how. She delivers herself in her creations to a ritual quest towards a new aesthetic of forms and community images to tend towards initiatory narratives where the notions of passage, of transformations overturn our established worlds.