For this series, the artist adopts the traditional form of the candy bowl and renders its familiar meaning abstract through geometry, light and repetition. The photographs are set against backlit lightboxes, which luminous surfaces recall X-rays and create an aesthetic standing at the border between scientific image and funerary portrait, in an attempt to examine and memorialise beings that can no longer be encountered. Inherently, the light plays a major part in the composition through the tonal variations of the white shapes evoking the appearance of bones, accentuated by the arrangements suggesting spinal structures and underlying species' original form like a fossil. The fragile human-made material becomes the spectral trace of a body.

Against a black background, the white forms are reminiscent of constellations and their ancient associations to the dead and divine, thus contributing to the constant thematic and visual oscillation between the forensic and the celestial, scientific evidence and animistic ritual.

Extending her selection beyond the familiar icons, Sautour's subjects are mammals, insects and minerals. 'Origami Gone' ultimately considers extinction not only as the disappearance of individual species, but as the irreversible rupture of the interconnectedness of ecosystems, reminiscent of a functioning spine.

All original photographs are individually numbered and limited to an edition of six.