States of an Eating Self, 2025
photographic series
In a world obsessed with control and performance, Camille Poitevin invites us to slow down and reconnect with a fundamental gesture: eating. Through her lens, this everyday act becomes a moment of intimacy, introspection, and human connection.
The artist subverts the conventions of studio photography: while the frame is carefully composed, the staging gives way to a lived, shared moment. The camera freely captures micro-expressions, suspended gestures, and states of presence. Women, or more broadly sexised individuals (those subjected to gendered norms) are invited to take part in this collective yet deeply personal experience.
States of an Eating Self focuses on what escapes controlled imagery. By rejecting the aesthetics of perfection, the series opens a space to reinhabit the body : a space where the inner self can emerge. Eating becomes an act of attention, a site of resistance to the norms that shape our desires and appearances.
Exhibition tiff 2025 - Emerging Belgian Photograpy, 28.06.25 - 28.09.25 © FOMU/We Document Art.
photographic series
In a world obsessed with control and performance, Camille Poitevin invites us to slow down and reconnect with a fundamental gesture: eating. Through her lens, this everyday act becomes a moment of intimacy, introspection, and human connection.
The artist subverts the conventions of studio photography: while the frame is carefully composed, the staging gives way to a lived, shared moment. The camera freely captures micro-expressions, suspended gestures, and states of presence. Women, or more broadly sexised individuals (those subjected to gendered norms) are invited to take part in this collective yet deeply personal experience.
States of an Eating Self focuses on what escapes controlled imagery. By rejecting the aesthetics of perfection, the series opens a space to reinhabit the body : a space where the inner self can emerge. Eating becomes an act of attention, a site of resistance to the norms that shape our desires and appearances.
Exhibition tiff 2025 - Emerging Belgian Photograpy, 28.06.25 - 28.09.25 © FOMU/We Document Art.
Picture Element, 2025
video installation
Picture Element brings together over 6,000 lenses salvaged from used disposable cameras, reassembled into an installation that slows down the frenetic pace of digital instantaneity. The accompanying video captures mouths in the act of eating, with a particular focus on sexised individuals (those exposed to sexism). The visual treatment, blending close-up shots, pixelation, and glitches, reflects the tension between control and release.
Components of used disposable cameras (lenses)
Exhibition tiff 2025 - Emerging Belgian Photography, 28.06.25 - 28.09.25 © FOMU/We Document Art.
video installation
Picture Element brings together over 6,000 lenses salvaged from used disposable cameras, reassembled into an installation that slows down the frenetic pace of digital instantaneity. The accompanying video captures mouths in the act of eating, with a particular focus on sexised individuals (those exposed to sexism). The visual treatment, blending close-up shots, pixelation, and glitches, reflects the tension between control and release.
Components of used disposable cameras (lenses)
Exhibition tiff 2025 - Emerging Belgian Photography, 28.06.25 - 28.09.25 © FOMU/We Document Art.
QuickSnap, 2025
installation
Through the installation QuickSnap, Camille Poitevin questions the complexity of our relationship to images in a world saturated with immediacy. Inspired by advertising devices, the artist censors the screen image by creating a filter made up of thousands of lenses extracted from used disposable cameras, collected from various photographic laboratories in Belgium. The accumulation of lenses and electronic waste - the flashes from disposable cameras - reinforces the idea of abundance and obsolescence. The artist thus raises the value attributed to objects and images in a society where excess becomes commonplace, drowned in the mass. The work invites us to take a critical pause, a moment of reflection on the ephemeral and the invisible, on what is seen and what remains hidden, while at the same time questioning the durability of that which, however, quickly dissolves.
Components of used disposable cameras (flashes and lenses)
Exhibition Art au Centre #15, Rue Hors Chateau 40, Liège, Belgium, 2025.
installation
Through the installation QuickSnap, Camille Poitevin questions the complexity of our relationship to images in a world saturated with immediacy. Inspired by advertising devices, the artist censors the screen image by creating a filter made up of thousands of lenses extracted from used disposable cameras, collected from various photographic laboratories in Belgium. The accumulation of lenses and electronic waste - the flashes from disposable cameras - reinforces the idea of abundance and obsolescence. The artist thus raises the value attributed to objects and images in a society where excess becomes commonplace, drowned in the mass. The work invites us to take a critical pause, a moment of reflection on the ephemeral and the invisible, on what is seen and what remains hidden, while at the same time questioning the durability of that which, however, quickly dissolves.
Components of used disposable cameras (flashes and lenses)
Exhibition Art au Centre #15, Rue Hors Chateau 40, Liège, Belgium, 2025.
récit glissant, 2022
video installation (4 screens)
9 minute loop
Inspired by sociologist Zygmunt Bauman's theory of liquid life, in which he describes our society as a precarious world full of uncertainty that is directed by hypercapitalist consumerism, Camille Poitevin created sculptures, photographs, and video installations that imagine the daily experience of such a liquid world. In her video installation, the small rituals that make up our daily habits have become liquified. The scenes are played out by herself and represent four rooms, which show four versions of her living daily life. The screens act as surveillance screens, turning the viewer into a confused voyeur. The mise-en-scène that Camille creates represents an imaginary past, but also a future.
Exhibition Currents#10 Choose your own story, Marres Huis voor Hedendaagse Cultuur, Maastricht, Netherlands, 2023.
video installation (4 screens)
9 minute loop
Inspired by sociologist Zygmunt Bauman's theory of liquid life, in which he describes our society as a precarious world full of uncertainty that is directed by hypercapitalist consumerism, Camille Poitevin created sculptures, photographs, and video installations that imagine the daily experience of such a liquid world. In her video installation, the small rituals that make up our daily habits have become liquified. The scenes are played out by herself and represent four rooms, which show four versions of her living daily life. The screens act as surveillance screens, turning the viewer into a confused voyeur. The mise-en-scène that Camille creates represents an imaginary past, but also a future.
Exhibition Currents#10 Choose your own story, Marres Huis voor Hedendaagse Cultuur, Maastricht, Netherlands, 2023.