Portraits of women in prison.
Set in a prison environment, the stage costumes introduce a whole new field of aesthetics, poetry and symbolism, giving a new look to the opposite extremes of the stereotypical female prisoner.
The deliberately empowering depiction creates images / avatars that question the representation and its relation to identity. With their consent, their faces in full view, these female prisoners leave behind their impersonal clothing, anti-social clothing. They cloud the issue, revealing another possibility.
These portraits of women in prison offer a reflection on appearance and its relationship to identity.
The work reveals nothing of their sordid realities, of the jail, of the bars, of the screams, of sex or the lack of sex, of lack in general, of the violence, of the drugs, of the solitude, of the power of money and the abuse of power, infantilization, injustice and poverty.
From 7 or 9m2, it highlights the only territory that is theirs, their bodies.

Perhaps mutilated, surely hidden, beneath the lace and scarred arms, this white fur, these jewels, these dresses and these falbalas, their adorned bodies reveal rather than hide their humanity. By permuting the codes of portrait representation, this book suggests seeing these women differently.
This photographic work explores the coexistence of different spaces of recognition within the same place characterized by deprivation and depersonalization. In detention centers, a place dedicated to confinement and exclusion, there are nevertheless spaces of relative freedom for the expression of individualities.
There are “soft” spaces which are part of the prison system which regulates access and use, like this hairdressing salon, and those more ephemeral like the one made for a photographic workshop.
In the theater, the costume is, along with the decor, the first sign visible to the spectator. It is both real (volume, material, color) and fictitious through the representation codes it conveys. The actor's second skin, the costume characterizes the character, places him in a historical and social reference, contributes to his gestures and, more broadly, to the dramaturgy.