In Japanese architecture, the kekkai represents the unique relationship established at the threshold. It simultaneously separates and connects two spaces. There are countless kekkai that mark transitions, boundaries, and limits. Each time you cross one, you reconstruct your world. “In the 1960s, my maternal grandmother owned a Kodak camera and filmed with it. Having escaped destruction, these hours of footage were digitized, and I began to reframe them—isolating fragments of landscape, faces, and light from a different perspective, from an eye that is no longer here. The film’s unreal, saturated colors have heightened its dreamlike, unsettled quality.” — Muriel Claude

The design was developed in collaboration with Victor Sirot and Frédéric Jaman. By isolating or removing the color black from Muriel’s images, we emphasized their uncanny hues. This process also enables a reflection on light and shadow—elements deeply rooted in Japanese philosophy. We intentionally zoomed in on the images to isolate details and reveal new narratives. The two accompanying booklets present the images as Muriel originally captured them, inviting fresh interpretations. Typography: Mercure by Abyme.

« Je te parlais de cet espace non linéaire que parvient à créer le livre (l’un parle de « hors temps », l’autre de la dilatation du temps par la mémoire …), alors cela ne m’étonne pas ce monde de la psychanalyse qui y voit des photographies de l’inconscient, l’inconscient ne connaissant pas le temps. Il s’agit évidemment de production d’images mais en effet leur nature questionne. Mais est-ce vraiment important de la déterminer…? Ce qui me semble important c’est que le livre, par sa forme, l’enchaînement de ses pages, soutient ou révèle ou renforce, je ne sais pas, ces images. La fameuse alchimie du fond et de la forme, en ce sens, selon moi, le livre est très réussi. » — Emilia Stéfani-Law (mail envoyé à M.C., 16 mars 2025)