Fleur Thesmar came from France to the USA, her familiar landscapes and perspectives suddenly replaced by unending spaces.
Migrating with a whole family is different from tourism, where one could rely on existing images or texts to share a similar experience.
Instead, migration is a breakthrough into someone's identity, as implied by Claude Levy Strauss: "a journey takes place simultaneously in space, time, and in social hierarchy".
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The connexion to objects, love or embarrassment, is rocked by physical relocation. When these objects start to have a life on their own, like computers or phones, the border between being observed rather than observers is blurred.
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This huge change made Fleur reconsider what she always thought was natural, the perspective. The relationship between figure and background which was once stabilized through western painting, has become an incessant hustle of matter set in motion by invisible presences. The way one could record an experience becomes itself an investigation.