Tales Without Grounds presents a series of photographs exploring the psychological realm revolving around a cast of characters in a hydroponic lettuce cultivation complex. Uncanny, and slightly disturbed, Tremblay’s work accesses techniques of literature and film to develop an elusive and mysterious semi-narrative.

Eve K. Tremblay’s Mémoire anticipée d’une jeune fille derangee (2004) (the anticipated memoirs of a deranged girl) plays off of Simone de Beauvoir’s Mémoire d’une jeune fille rangee (the memoirs of a dutiful daughter). The twist towards the corrupted in the title elucidates the twist that takes place in the image. Why, for instance, does the girl cover her face- and why with lettuce? Why does the girl hold the lettuce in such a way? Like many of her works, Tremblay’s Mémoire anticipée d’une jeune fille derangee takes place in a hyper reality where physical and psychological worlds coincide and the objects in the image potentially function as extensions or doubles of the subjects. In this case, for example, the girl perhaps echos metaphorically the lettuce? Or, as per the thinking of D.W. Winnicott, does the lettuce and this made up world of exploration function as an intermediary land of play concocted by the girl to negotiate, learn, and come to terms with the adult or `real’ world?

Tales Without Grounds continues the examination of Tremblay’s multilayered images. Sometimes they are close-ups with one figure. At other points, the lens pulls back and a landscape, sometimes with many figures, unfolds. A passage of time is evident even while the chronology is impossible to unfold; and the viewer, understanding a cast of characters in staged scenes, becomes wrapped in a Brechtian psychological world- ever considering the links between the works and actively assembling in his or her head the possible essence at hand.