Nearly a century after Picasso and Brassaï worked on the cliché-verre — drawing on a glass plate and printing it as a photograph — and at a moment when young artists are reaching back to old processes for contemporary ends, how is that encounter between an artist and the glass plate, its light and its matter, to be taken up again?

And in a period that claims a place for women in the history of art, how is one to question that very ordinary phenomenon of domination — whether in how the artists themselves related to women, or in a certain resistance that still keeps women artists from the centre?

Anaïs Boudot was asked to take up both challenges at once. She works on a set of anonymous glass plates from her own collection, all of them showing women.