Bussières’ practice exists at the intersection of photography and sculpture, emphasizing material experimentation, conceptual rigor, and temporal engagement. She employs lumen printing, an early analog photographic technique, exposing light-sensitive silver paper to controlled and natural light conditions over periods ranging from seconds to several days. The resulting works are unique surfaces in which light, time, and environment become active collaborators, rather than mere tools. Through masking, shadowing, and selective exposure, she sculpts tonal gradations and color-luminous blues, violets, pinks, and warm beiges-that emerge from the paper itself, creating a visual record of temporality and place. Her work situates itself within a historical lineage that includes photograms, the Light and Space movement, Minimalism, and Color Field painting, as well as pioneers like Man Ray and László Moholy-Nagy, while transforming this legacy into a contemporary dialogue with nature and perception. Childhood experiences in the wilderness of northeastern Québec and her time living off-grid in Northern California inform her sensitivity to environmental rhythms, allowing her work to convey both intimate ecological awareness and universal temporal experience.

Bussières’ prints are palimpsests of light and time, embodying events rather than static representations. Each surface reflects the interaction between natural forces, human gestures, and chance, inviting viewers to pause, perceive, and contemplate the flow of light, the passage of time, and the vulnerability of perception.