Lace, as a photographic subject, returns persistently in research on photosensitive processes carried out simultaneously by William Henry Fox Talbot and Hippolyte Bayard in the 1830s-1840s. Placed in contact with a photosensitive surface and exposed to the sun, the shadow of the lace gives the illusion of already being its image. Perhaps this is because lace can be perceived as different holes sewn together, it undoubtedly has a connection with vision.

Trous Cousus (Sewn Holes) takes as its starting point the image of a half glove of which Bayard made a photogram in 1840. This half glove is split and reconstituted in a computer-generated image so as to form a complete, virtually articulable glove. From this matrix, a certain number of gestures are edited in the form of images (a piano chord, pointing at something, holding a cigarette between your fingers, etc.). The gestures refer to the history of art, semiology or pornography... areas where vision takes precedence.

Of course, the glove is empty and the sewn holes open onto empty space. One might wonder if the erotic mechanics specific to lace still work if it covers nothing? But is this the case here? The lace effect being enhanced by the printing support: a micro-perforated adhesive which allows you to see through the image when you are on the dark side of it, we understand that it is therefore good from the inside of the glove that it is possible to see and that this is the position of the viewer.

Trous Cousus is a technological game around vision. It is part of the research that Aurélien Mole carries out around photography and other technologies that he approaches by considering the potential of the technical imagination specific to each.