Rachelle Bussières is a French-Canadian artist based in New York whose practice investigates light, time, perception, and the material life of the photograph. Working primarily with lumen printing on silver gelatin paper, she creates camera-less works shaped by gesture, duration, and environmental exposure. She holds an MFA from the San Francisco Art Institute, and her work has been exhibited across North America and Europe, including the United States, Canada, France, the United Kingdom, Italy, and Turkey. She has participated in international residencies such as the Banff Centre, Penumbra Foundation, Headlands Center for the Arts, and Silver Art Projects. Her work is held in public and private collections including the Museum of Contemporary Photography (Chicago), Arter Contemporary Art Museum (Istanbul), and the SFMOMA Library. She has received grants from the Canada Council for the Arts, was awarded second place in the Snider Prize from the Museum of Contemporary Photography, and was longlisted for the Aperture Portfolio Prize. She is the founder of LUMIERE NYC, a platform dedicated to experimental light-based photographic practices.

Bussières's practice moves between photography and installation, using light-sensitive paper as a site of duration, touch, and transformation. Working with lumen printing, she exposes silver gelatin paper to controlled and environmental light over periods ranging from seconds to several days. Her recent works extend this process through performative and physical gesture, often at a larger scale: masking, contact, rolling, and movement shape the image directly, allowing gesture to register as trace, interruption, and rhythm. Photography moves beyond fixed representation and becomes an event. The resulting works carry a luminous, atmospheric presence, familiar yet otherworldly, inviting viewers into a space where light feels both intimate and vast, and where looking slows into sustained attention. Over hours and days, luminous blues, violets, pinks, and warm beiges slowly surface from the paper's chemistry; color not applied but revealed through time. Each work becomes a temporal encounter: an accumulation of light, movement, and material response in which perception remains unstable and the image stays open, atmospheric, and alive.

Represented by Robertson Arès, Montréal

Supported by Bigaignon, Paris