Named after a French hunting term that describes the action of moving or retreating into a bush – like an animal hunting or hiding – Marion Chérot's collection Buissonnade is made up of 30 photographs that study the round and irregular shape of bush vegetation. Each of the pieces is 40cm x 60cm, and the whole collection is composed in a structure almost five metres long and three wide – an arranged cartography that, though ordered differently from the real landscape it depicts, documents Chérot's experiments with land, body and camera.
How to define a landscape? It's a thing linked to sensibility, visual culture and many other elements that interfere between us and the perception of the land itself. Artists have experimented with representing the land through their body and senses; I wanted to go further in this direction, but with my camera.
I chose to photograph vegetation for the different compositional possibilities it has – like a living sculpture. The process begins with a walk through nature to find special places that have all the vegetation I need. Then I connect with nature on a really close scale, catching frames that have their own individual time and rhythm. It's like an intimate meeting between the vegetation, my body as it experiments with the territory, and the camera. I look for ways I can adapt to the area. Energies collide. After, I reconstitute the land. Each picture has a different style – sometimes as light as a drawing, sometimes much more heavily condensed. My hunting brings back many elements, full of contradicting ways, like knots. These knots become the waves of this tide of vegetation and give birth to a feeling landscape.