MICHEL GAILLOT, philosopher and art critic, Das Schloss Éditions Filigranes 2015


In the end, just as this large house cannot be identified, neither can the different characters we meet be recognized or identified, since their faces are somehow denied, obliterated through artifices pertaining to staging prior to shooting or subsequently when the artist uses drawing or collage to work on the negatives. Rather than attempting to represent them as objectively as possible, Sara Imloul seems to give them fictitious roles to play in this intimate theatre made of shadows and lights, dreams and memories, fantasies and introspections, as The Castle turns out to be through the lens of its camera. As if the aim were also to make more complex, or even to blur, the perception both of its own space and of the bodies exhibited within.

However, although deeply pervaded by “ the fantastic “ and “ the mysterious “, the pictures presented here do not represent an escape out of the world or its effective reality. Quite the reverse, we are invited to touch and to face up to its entirety and its integrity. This is probably the major challenge of this work – to invite us on the front line or the contact area where reality and its strange, fantastic or mysterious part of shadow do not exclude each other anymore, but cross over and intermingle constantly at a point of incandescent non-discrimination.