A cross between a camera obscura and a computer screen, between chemistry and pixel, Baptiste Rabichon experiments with new ways of producing images. The works he presents at Panorama 19 hybridise analogue and digital, bringing up to date early photographic techniques that don’t use a camera and that distort the latest technologies. Often composed of several layers corresponding to so many different and successive actions, Rabichon’s images intend to render visible a reality that escapes the human eye or photographic optics. This is why he removes or blocks his camera lens and creates reproducible digital images with cosmic evocations, by subjecting the photosensitive cell to direct contact with a ballpoint pen, lasers or X-rays. The latter testify to Rabichon’s work focusing on an airport scanner, whose security purpose he subverts in order to discover its artistic potential and to obtain still lifes of translucent objects and abstract photos between randomness and repetition. In its formal diversity, Baptiste Rabichon’s wide-ranging research thus seems to have as common denominator the phrase announced by Vilém Flusser in Pour une philosophie de la photographie (1996): “To be free is to play against all the cameras.” Étienne HATT