“Metamorphoses” (2024-)

In Metamorphoses, the models take their place on the studio couch, like in a psychoanalyst’s office. Mirial invites them into an inner journey.
Stripping themselves bare, they enter into dialogue with their double, their self. What was once internal splits, externalizes before our eyes.
A double play unfolds: states of mind, psychoses, seem frozen for eternity, where mythology and psychoanalysis converge. Nothing surprising, when one recalls the deep connections between the two, long explored by Sigmund Freud, from Oedipus to Theseus.
The metamorphosis occurs. But here, it is not a total transformation, from one being to another, from one state to another, as in Ovid (Europa and the bull, Leda and the swan, the golden rain…). Mirial instead explores the in-between: that suspended moment when the face splits, when the soul seems to leave its original body.
The tipping point. The threshold. The point of no return before the final transformation.

“His photographs sublimate what disturbs.”
A RUBY, psychologist