In 2006, with the series

Human Trash in picture reseach laboratory I undermines these interpretations, creating an alteration of the human face by an exact match of form, either side of an axis.

Presented at the Biennial of Sao Paulo.

SEEN FROM BEHIND series plays with the natural interface that connects us dynamically with the world, the body, and thwarts the criteria of normality and functionality related to bilateral symmetry. It’s recognized that the most symmetrical skeleton is most adapted to the movement, all deviation from symmetry results in a failure to locomotion.

I stop the movement of a human body with a still image, I apply a symmetry and I wonder about the signification of the word "deviation" through the singular and sensitive expression that emerges now from this body. No distortion or dispersion, or perversion but impressive and unusual postures, and when the mirror is adjusted the pose becomes elusive, uncertain at our senses.

The snapshot of movement evolves into a physically visible introspection, accentuated by the concordance of the situation,  the public space looks like a décor and causes a sudden feeling of confinement.

I catch at flight and I steal the actions of my "similar" in one context, atmosphere of a city, of its public spaces, and activities that take place there. But “street photography” has its own rules, the image rights, that I approach with impertinence. Of behind.


In the living world, I focus my photography work "in relation to a plan", the sagittal plane, the only possible line of symmetry in humans and other organisms with bilateral symmetry. A left-right symmetry, mirror-image type.

A harmonious relationship of size ant form is considered visually appealing, and any variation from bilateral symmetry can be interpreted as reflecting the inability of the individual to develop himself quite normally.

With the series Péchés Composés I give life to a fisherman's hut by the bilateral symmetry, for to

express the living organism and illustrate human thoughts and passions. The seven deadly sins.

Presented at the Biennial of Nancy.

The street, street entertainment, all age groups, gushing place to live, behavior, appearance, posture, exaggerated, creative space, space of freedom ?

Clichés, living, right to expression, draws the eye, attraction, awakening reactions, parade, all age groups, is exposed, established order, trouble, circulation, diffusion ?

Bay, city, angels, seen from behind, wings in the back, identical, balance, flight, stolen photos, image rights, right to imagination, all age groups ?

Fiction, vision, visible, on the quick, instant, disruptive, witness, all age groups, in the plan, sign, composition, without chord, reality, truth ?

Cities illustrated, interpreted, fixed in time by photography.

Nice, Venice, I chain up two trips, two names, two seashores, and a story of angel developed on postcards sent to my friends : « bay of angels ... I seek them...», « city of angels ... still not found ...». Returning to Bagnolet, in my city, the angel appeared to me during a festival of street art. An angel with two heads.

Two halves, a mirror image in a plane only, it's bilateral symmetry. Intimately related to the mechanics of  the living, she facilitates the movement. In the movement, what becomes the human body symmetry ? In contemplation, the measures are they more accurate ? Answers lie between fiction and reality, reflection of fashion and society effect. Into the decor of the city.

"Seen from behind" it's the story of a street photographer who knows what he can show of the public space.

He will tell you : "I saw it from behind ..."

- Behind in french it's a back view, but also in closeup, buttocks -

When you see him you will say "don't look back he's behind you, you've nothing to fear for your image".

Seen from behind.

Digital photographs.

Visual création, 2013

Venice 2013

Nice 2013

Paris 2006




copyright © Cécile Lacombe

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“Seen from behind”