The perception of celestial elements has stimulated imaginations and dreaming since the beginning of time and the world has changed radically from the moment photography has taken distant viewpoints. The invention of aerial imagery is a pictorial and technical adventure, since Nadar at the end of the 19th century, questioned a perspective system since the Renaissance. As a visual artist, I aspire to highlight a photographic practice with an attraction for the skies, starry nights and the conquest of space, in fact, a curiosity for astronomy in general, even science fiction. My father was an aerospace engineer; he worked mainly on the Ariane V rocket. This obvious link is a source of inspiration and questioning too. My photographic practice maintains a close relationship with the cosmic world and astronomy. On this subject, photography as a medium and a tool has already become an object of reflection as to our connection with reality. My project of photography aims to re-examine this link, including an experimental dimension. The images obtained are therefore the object of manipulation and experimentations in the darkroom, inspired by the surrealist’s artists. I love creating a new planet and a new world. I create a lot of photographs on Earth; I show several landscapes but these territories will disappear. Sometimes, I prefer to write that my work is the memories of the future. With my images, I tell a story, the end of the planet and the creation of another one.

«From the outset, one perceives a rather pure fascination for cosmic environments in Sandrine Elberg's photographic work. The deserted expanses overlooked by black skies evoke lunar landscapes; the agglomerations of dust or the myriads of brilliant particles, chaotically distributed in her various compositions, are like stars that move silently through space. The rocky fragments, on the other hand, seem solitary and airy, as if struck by weightlessness. In detaching themselves from an opaque and constellated frame that takes the place of a background, they represent the celestial and irregular bodies that revolve around certain planets of the solar system. In Sandrine Elberg's work, however, this attraction for cosmic worlds is coupled with equally fervent enthusiasm for diametrically opposed realities. These complex landscapes, which are observed in the light of far off distances, lend themselves to the figuration of bodies or infinitesimal substances. Landscapes, which previously depicted huge mountains, are now misinterpreted at the slightest variation of matter; what seemed like an asteroid enameled by interstellar accidents is now confused with grains of dust illuminated by grazing lights.» Julien Verhaeghe