Marie Maurel de Maillé's photographs report fragments of scenes or events drawn from a reality that at first escapes us because they seem to belong to her own intimate universe; her tightly framed views offer abridgements of landscapes or faces, and we, the viewers, recognise in this particular way of arresting a detail and fixing a fleeting visual impression a process familiar to our own consciousness, the fragment's power of evocation letting her set views side by side that complete one another and form a series within the dreamlike supplement they induce, silences rather than off-frame or emptiness interposed between the photographs that punctuate the sequence, like a musical score, offered to the gaze for a possible continuation of this iconic weave of ever-possible meditation.