ISABELLE CAMPS
LISTEN… THE WATER IS RISING

While the Indian and Pacific Oceans are regularly struck by tsunamis, by 2050, the Mediterranean coast will also be impacted. The probability is 100%, according to UNESCO, which has just extended its “Tsunami Ready” protection program to all at-risk areas worldwide, including the Mediterranean.

The link with climate change and rising sea levels is well established. It is from this alarming observation that the project “Listen… the Water (that) Rises” was born, and which is also presented as a multimedia installation combining still images, video editing, and sound.

Isabelle Camps | artist

This work refers to an archaeology of the instantaneous.

It appropriates, by subverting, the experimental apparatus of chronophotography itself, associated with the invention of motion capture as well as that of moving images. For Isabelle Camps, it is a matter of monumentalizing the instant by anchoring it in the history of its capture and its representations, while also alerting us to a perceptible change.

It is a muffled cry, emanating from the tension of eternity inherent in that of recommencement (The sea, ever beginning anew – Paul Valéry), and from the fear of a world slipping from our grasp. Listen to the rising water, which reinforces the fracture in our relationship with nature, through a sequential photographic apparatus and, more generally, through technological processes.

This fracture is what the anthropologist Philippe Descola invites us to overcome, in order to rethink our relationship with the living world.

Luce Lebart | Historian of Photography

opening on Friday December 12th 6 to 9 PM

artist’s interview 7 PM

exhibition December 12-14 2025
2 to 8 PM

then on appointment until Feb 28th 2026

Tsunami warning, subjective testimony, contemporary art installation, chronophotography—one also thinks of Bruce Nauman’s multi-screen installations or, of course, Yves Klein’s blue monochromes—Isabelle Camps’s work is all of these at once, with a remarkable economy of means, which could be described as minimal, or as “Arte Povera”.

The sense of the sacred is also present; the scenography is an essential part of the work, and we are very much in line with the editorial vision of the Frozen Lake Gallery. We are proud to present this work.

Richard Petit | curator

instagram.com/isabellecamps