Langford’s Basic Photography 10th ed

December 8th, 2015 by mariepix



I was privileged to contribute to the 10th edition of this text book and this is now finally published.

Langford’s Basic Photography: The Guide for Serious Photographers Paperback – 8 Dec 2015

AfroHeros Series – Blazons

August 12th, 2013 by mariepix






kaleidogifs at the dublin speedshow

July 4th, 2012 by mariepix


kaleidogif series marie-josiane agossou and paula roush.

After receiving an invitation to participate to Never gonna gif you up, a speedshow curated by Nora O Murchú for the openhere festival in Dublin, paula roush proposed for us to collaborate on a series of animated gifs for the show.

We found the William Blake engraving  Europe Supported By Africa and America published in (Narrative of a five years’ expedition against the revolted negroes of Surinam, in Guiana, on the wild coast of South America; from the year 1772, to 1777: elucidating the history of that country, and describing its productions … with an account of the Indians of Guiana, & negroes of Guinea, by Captn. J. G. Steadman), which final intentions were to support the start of more equal relations between cultures and races.  This compelled us to work around the historical and socio cultural context of both engraving and writings taking a feminist approach to the master-slave conflict and to the work by means of video collages.

Shadow knitting, conflicting tattoos on our skins, lacerated closeup skull, pixelated lynching uncanny life traces, europe out of focus supported by a yearn ball.”

paula roush, 2012 []

gif contribution at the PG

July 3rd, 2012 by mariepix

On the 19th of May The Photographer’s gallery in London reopened its doors to the public with amazing works by Burtynsky and a brand new digital screen, ‘The Wall‘.
To inaugurate The Wall , the gallery invited a few artists to contribute to Born in 1987: The Animated Gif show. I am very pleased to be part of the lot with a gif from return to wells and claim my 10 seconds of fame (5 seconds in a loop exactly).

Musée du Quai Branly: A Little French Inspiration

June 29th, 2012 by mariepix

Last July, David Wright from Tangible Experiments and I decided to take a trip to the Musée du quai Branly in Paris. I had visited this museum a few years back when it had just opened  and was  quite impressed with their use of technology and the subtle ways in which it blends in with their impressive collection of ethnographic artefacts. Having visited many museums where indigenous art and especially ancient are displayed, I found that Branly has succeeded in drawing the interest of the general public to a realm that was exclusive to ethnologists, sociologists, historians and curators.

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I can’t help but thinking that it is in part technology that has facilitated the accessibility of these treasures as well as their history to a lay vary-social and multicultural audience. Moving Image, interactive displays, touch screens, all the technologies the more recent generations are living with everyday, invites the public to engage beyond the pure contemplation of the pieces, and draws on their curiosity to learn about the context in which these works were made, the cultures and civilizations who made them and how they used the. Branly,  in my opinion is digital storytelling.


On entering the museum, a striking and welcoming digital art installation greets the visitors and leads them to the collections. The River is a piece by artist Charles Sandison, which invites the audience into a stream of words (“16,597 names of all the peoples and geographic locations displayed in the museum’s collections”) evolving along the museum’s entrance ramp.


This is quite an appealing piece which does indeed as Charles Sandison intended “prepare the viewer to enter the collection, to create a state of reverie consistent with the architecture and the dream like experience of the permanent collection space”. [A forword by Charles Sandison accessible at : ]

And the museum in riddled with multimedia gems, either playful or informative, descriptive or illustrative. The one thing that particularly caught our attention was the use of rear projection films inside the display cabinets. The only instances I have seen these screens being used are in the windows of estate agencies. It seems these have been somewhat successful for such businesses and other marketing strategies. However, I had never really seen it used in more creative or at least aesthetic ways as galleries and museums I imagine have not been generally targeted by suppliers and despite the seemingly flexible nature of such screens, they are rather the contrary as once stuck [they come with an adhesive side] on a surface, they are there pretty much permanently.

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However, projecting on glass is attractive, and Branly has found a successful compromise by integrating these screens in the display cabinets of their permanent collections. Because of the fragility of their artefacts, the exhibition space is kept in very low light which is an added bonus for permanent projections on glass.

Doing this adds to the contemplative experience of these precious objects, garments, tools, ornaments; but also places them back in their context of origin via moving image projection within the same location. The glass and translucency of the projection screen makes the images merge with the physical objects, and it seems it is coming to life within that little box of history.

Through London’s Windows

May 23rd, 2012 by mariepix

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London has attracted a range of individuals from all over the world in our contemporary society. It has been the muse of numerous artists, and here we are, after many works and exhibitions past, present and I’m sure, future, willing to add our touch to the art altars and desiring to declare, tell and show our enthusiasm for the city. London has not only been the love but also the hope of numerous people. In what London promises, it resembles – for the surrounding nations and some further away – the ‘American’ dream though a less polished one, slightly rough yet coveted by many. It is one of the global cities around the world if not the ultimate global city, a contemporary Babel where everyone comes and seeks their path to life.

Yet, amongst the roaring and effervescence of the city, it is still astonishing to find little havens of peace and history. The seemingly conflicting architectures and human behaviours merge without drama, or at least without apparent drama, as it engulfs a complex society. Nonetheless it feels like a protector. Somewhere you can loose yourself in but you’ll never truly feel lost. It has a reassuring greatness as well as being disconcertingly unassuming. It is great and humble, old and new, fast and slow, hard and kind, distinctively British and entirely multicultural but still authentic.

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When reviewing the theme of ‘Through London’s Windows’, I can’t help but think of the window as immaterial and of the idea that no one ever just passes through. Whether someone has been in London for 5 minutes or 20 years, they will have had a unique experience of the place and that the ‘window’ is that opportunity we have to share those intimate and ‘like no other’ perspectives on moments and stories This may seem obvious, but I would want to argue that if it is the case for all places of the world, the London experience is that which deeply resonates in those who have crossed paths with it.


The idea of ‘looking through London’s windows’ for me conjures up the ideas of veiling and revealing. It brings to mind the lifting of a veil on a fantasy lived by all who sought the dream.  However, it isn’t a negative angle on this notion but rather a meditative look on an ‘enchanted’ city. This is not about the gloss layer of the tourist guide but about the moment(s) when one realises they have been bewitched.

Carrying on with the thought of the metaphorical ‘window’, I would like to work on a series of atmospheric moving cameos engaging the viewer with the spellbinding reality of the city.

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The work will be time based and might be based on archival material  either visual or oral (British Library sound archive). This base material will be reworked with current original media although this is still an idea in progress.

return to wells complete

May 12th, 2012 by mariepix

return to wells explores visual representations of the memory trace from a particular event in a particular location. the works intersect depictions of the true, the fragmented and the constructed memory. Intimate cameos are created, perhaps idealizing what once was from what is left. return to wells has taken the form of a digital book and while this is still forming it can be experienced here.

—return to wells s2—

May 8th, 2012 by mariepix

—return to wells s1—

May 7th, 2012 by mariepix

A series of animated gifs from a collection of photographs taken in Wells-Next-The-Sea, Norfolk, England in 2008.



The Woods— Collaborative

July 10th, 2011 by mariepix

The Woods

authors: esther jones and marie-josiane agossou
video, colour, sound, 5’20”

This short narrative film is inspired in part by Britain’s green spaces – parklands, woodlands, fields – and in part by The Tibetan Book of Living and Dying. Here we have a walker-in-the-woods whose heady experience with trees, leaves, with water, with nature’s space takes her to an imaginative wilderness, an other-worldly state of consciousness, in which there is a sense of opening out into all possibities, in which beauty and ugliness exist, in which polarity and difference sit side by side. The question, however, is whether our walker-in-the-woods exists herself or is she indeed in an intermediate state between life and death?

esther jones.

view The Woods here.

The Woods was screened at Short cuts@The Woodman, Sydenham Arts Festival, London, UK 2011