"Aurélie Pétrel is working on a new cycle of research in her artistic approach, reenacting its founding principles. A rst project development was presented at the Centre de la Photographie d’Ile de France, using as raw material an archive collection of the Kandinsky Library. Considering the fundamentals of photography, the artist activates a laboratory, as a separate installation, bathed in an inactinic light. The archive furniture, on which latent images rest, awaiting activation, together with the mosaic of artist studio views based on research around transparency, turns photography into a space of transformation, of sedimentation, and then into an image. The image in the making is for Aurélie Pétrel the principle of creation of the artistic work. Visualizing the process involved in the making of a photography allows one to see a form being born, expanding on a surface. However, Aurélie Pétrel emphasizes her use of the «Photographic Drawing», the ink lost on the surface, which she distinguishes as a technique of ghostly appearance of the image. The photograph is no longer the resulting object, nor a trace, but a working tool to invent, interact, erase the material again. Aurélie Pétrel opens photography to the notion of process". (Sandra Doublet, 2017. Translated from French)
Starting from the matrix piece Images Jachères, a rack with archive boxes containing the latent images, where the photographic practice can be seen in the form of essence, Aurélie Pétrel opens a ‘musical score’ of the laboratory black and white prints. This laboratory-project was exhibited and initiated at the Centre de Photographie de l’Île de France in March 2017 during Aurélie Pétrel’s solo exhibition entitled SoixanteDixSept Experiment and its installation entitled 135,125iso, 24x36, m6, 35. supports and variable formats.
"Inactinic" consists of the photographic laboratory installed and treated as an image by its arrangement (1 large format enlarger, 1 gray developer tray, 1 gray stop bath, 1 gray xer, 4 white 15l cans, 4 red funnels). The installation includes Partition #1, made up of 7 archive boxes containing the realized baryta prints, 7 wooden battens that have been exposed to 7 inactinic light bulbs and 7 boards on which the prints where laid during the drying time. These elements function as an index of the work process. The red light exposes here and there ghostly traces of prints deposited. The viewer can come and go between the spaces. Perforations in the Plexiglas surface let the smell of the photographic laboratory escape.