In her photographic work Myriam Richard revisits her surroundings; an entanglement of portraits and details, her recorded images are a way of documenting environments she apprehends without trying to prove anything. Digressions from the main subject, these images of "almost nothing" work as marginal annotations, disruptive elements against a direct reading of "classic" portraits; Richard records and assembles her images to point, without judgement, to disparate elements that coexist in reality and, through their proximity within the book's space, attempt to signal a first degree of critical position.