It is perhaps within photographic techniques that Barbara Penhouët's painting draws certain gestures and motifs. One thinks of the rayograms, superimpositions and solarizations of a Lee Miller or a Man Ray, but also of Roland Barthes' readings of photographic and chemical light: "The photo is literally an emanation of the referent. From a real body, which was there, came radiations which come to touch me, me who am here; regardless of the duration of the transmission; the photo of the disappeared being comes to touch me like the delayed rays of a star." .Also, the production of the photographic image - captured, revealed, projected - is not completely foreign to the treatment of pictorial matter by Barbara Penhouët. The artist uses a very diluted oil paint that she works by accumulations and erasures with a brush. Over a long period of time, the pigments more or less bite into the canvas, the frame of which sometimes remains visible in reserve: the image is a matter of patience, appearance and back and forth. It is almost a negative work since the chromatic values are reversed with respect to the source." Elora Weill-Engerer, Art Critic