top of page
epoque_press_round_logo_Qe_RGB_white-01.
époque press
pronounced: /epƏk/
definition: /time/era/period
Ritual_Names_1_Alice JL Pierre.png

i came home

after eleven years
and things had changed


my father no longer presses fresh oranges every morning

for my mother for my sister

pour moi c’était un jus de pamplemousse


and i don’t go to school every morning anymore


i came home

after eleven years
and things were exactly the same


my father still empties the dishwasher every morning

setting up breakfast taking a shower getting dressed

my father buys the newspaper every morning

reading it at the café

 

always in the same seat


it’s a criss-crossing every morning
we sometimes don’t see each other until it’s past ten


mes matins ne se ressemblent pas


my father and i have lunch together almost every day

he drinks coffee and takes a ten-minute nap
every early afternoon


i came home
 

i don’t have every-day habits


a shower is not a habit

rituals.jpg
rituals2.jpg

Alice JL Pierre is a Paris-based bilingual artist using photography and writing in her practice of Photoliterature. Her work brings together body, text and photography, as means to reflect on memory and family history, through the constant destruction and reconstruction of narratives.

Of the work featured here, Alice says:

 

‘This work began when I moved back into my parents' home, eleven years after leaving it. It has always been a very nourishing space in terms of creativity, and I quickly felt compelled to start making photographs of the multiple and diverse bowls used around the house. We, in this family, have always had some sort of relationship to bowls, ever since my parents, who are avid art collectors, started buying ceramics. For the first few months of my coming back to my childhood home, I observed the rituals born around these bowls, the childhood rituals gone and the ones still very much alive. Everything seemed to be simultaneously different and identical - distorted, in a way. This is what I attempted to represent through the photographs of the bowls, with a digital distortion of every photograph made of the bowls.’

bottom of page