In January Dune Varela carried out photographic and filmic scouting and defined a project for the Perche by meeting various local figures. These encounters let her discover the collections of the Écomusée and of the Musée de Mortagne-au-Perche, currently closed, which holds a fine lapidary collection. She also visited many churches, thanks to the parishioner Thérèse Boulay, where she made numerous photographs of sculptures from different periods. At the same time she met historians, including the eminent Philippe Siguret, who told her the history of the Perche and its legends; in all she talked with more than fifteen specialists. This steered her artistic approach towards the history of sculpture, local memory and the importance of the forest and its animist atmosphere. She filmed many times in the forest, taking advantage of the winter fog, with local teenagers and her own sons. In June the artist returned to take photographs and continued her film, a period devoted to cultural interactions around her residency, and in December she came back to finish the film.