This story condenses many of the themes dear to the photographer. He stages, beyond the personal story of recovery, the optical devices of the mirror, the eye in its many avatars of the stain, the vanishing point overexposed.
The spot light is reflected from the mirror to impose itself on the eye (I do not dwell on the evidence of the staging of the photographic act). What attracts me here is the cutting geometry is the light that defines a surgical : here is the body which operates the eye that compute the visible reality. The viral disease is no longer and in its aftermath, a pale face, the swelling of the eye illuminated, as if the viral infection had won the eye.
The body is caught in the spokes light beam emanating from the vanishing point overexposed, as in the story "The irresistible reduction framework"
So that the eye, ours hesitates: the white square grabs the eye, but the facial features also attract us. This irradiation embarrassment as she balances the composition. It interferes with its intensity, she worried because she is back on, which makes screen. Found presence of this framework in several times: A bird , Diaphragm hexagonal ... Photography is sleeve. It fits the first time in defining the field and off-field; it one last time frame by imposing a limit viewer's eye sometimes aggressive (overexposure) and reductive (the frame in the frame). This probably means that the title story of "The Irresistible reduction framework," which refers to a procedure of the photographer, and still lit by the citation of Ecuador Michaux which gives its title a Another account : "The passage is taken in a sleeve thinking." The viewer has little choice: if he looks, his eye is caught, caught in this space predator from one frame to another. This is not the slightest interest in this work, moreover, that to implement this dual predation: the photographer towards his subject, and to his audience.
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