Anne-Charlotte Finel creates videos likely to undergo successive changes and even be interpreted by other artists. The notion of collaboration is essential to her; this also applies to the original composition of the music accompanying each of her works. Her images, for their part, can be recognized by their strong grain and their altered colors on the boundary between black and white. The artist has chosen to work in a permanent interstice: “I make my videos at night, at dawn, at dusk, and at the witching hour.” An uncertain, mysterious period when everything is as if on hold. This interstice is also geographical, on the borderline between town and country, a transitory landscape to be crisscrossed with the eye, and recurrent in the artist’s praxis. She seeks to create “images moving away from a reality which would be too raw, too defined,” slow, almost dreamlike images, similar to an abstract motif. In her early works, present here and there, human beings tend to disappear completely, giving way to nature with urban traces nevertheless implying their existence.

In her most recent works, Anne-Charlotte Finel undertakes research about inhabited waters: man-made lakes, reservoirs, etc. She has thus filmed waterfalls, transforming their vertical motion into a hypnotic image. She is also keenly interested in the issue of the loss of landmarks. She has accordingly followed white dogs, becoming simple glows in the burgeoning darkness of the evening. In both cases, the artist, who always creates from a vision and a fleeting image, prompts us to imagine hidden worlds — because “darkness makes it possible to see better.”