Inspired by the work of the Becher couple, whose aesthetic of objectivity tended towards minimalism, and by that of the American photographer Mike Disfarmer, produced in Arkansas in the 1940s, Isabelle Boccon-Gibod, self-taught and autonomous in her practice, has played with the same frontality to express the idea that our bodies, when assembled, form architectures. That in the absence of a smile, the face offers a singular neutrality of expression: the masks fall off and all that remains is a nudity (a naked truth?) that must be admired and deciphered beyond the appearances of any social game. This principle of a raw structure, where the eyes catch, has guided her work, without limiting herself to it.