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Florence Paradeis' photos are freeze frames, "selections" from the real. Through her very studied stagings, the artists gives us matter for reflection on our daily lives. She does not simply present reality, she interprets it. She places us opposite scenes of daily life from which that disturbing strangeness imposed by theatricality emerges.
Like a simple gesture, repeated each day, if it is isolated and stressed, can becoming disquieting, absurd, even inhuman.

At first, we recognize superficial, obviously trite gestures, but a more attentive observation uncovers a world revisited with irony. The particularly precise composition of her photos, the bright colors that seem almost saturated, the actors? pose? Everything is exaggeratedly worked while we are projected into the simple
intimate relationship that man has with his interior and the objects around him.
The theater of life imposes itself on us and the instant consequently frozen opens up a host of paradoxical interpretations.

Like the photos, the video works use certain cinematographic techniques ? off-camera, the ellipse, the reverse shot ? as references to another time and another space. They attempt to create a paradoxical synthesis between the fixed image and the image in motion to bring out a third image in which two contradictory speeds are maintained.

The collage, a technique that the artist has recently been using (images found, cut out, assembled then photographed), is another medium through which she can blur representation modes, turning signs inside out like a glove to split their meaning into many possibilities. These montages of fragments show the visual manipulation we are victims of in daily life? As though we should never believe what we see.