Inspired by the visual language employed by scientists examining both the microscopic and macroscopic worlds, Bouvier’s series of monotypes purposely creates ambiguous origins and narratives. The medium itself obliges the artist to let go of some control. Rather than working meticulously and carefully, one must work fast, finishing the image before the ink has time to dry. This creates images which are much more direct and fluid, lending themselves to more enigmatic imagery. The forms themselves harken to scientific language, without being immediately identifiable. The size is incertain, as similarities between micro and macro become evident.

As in more academic disciplines, the object of study is placed upon a grid, which also suggests a space of absence. Covering the grid in swaths of black, Bouver accentuates the action of the subject we are supposed to observe, as if it is the darkness that warns us of its existence. The subject matter itself speaks of cycles of life and death, of destruction and creation. Taking images of atomic explosions, Bouvier questions how in order to create new technologies, we often have to pass by disaster. Using techniques developed during the early ages of photography, these monotypes, or unique prints, seem to question the power of shadows to reveal reality.