Exaucé. The transitive verb used to describe the actions “to fulfill,” “to grant,” “to answer,” or “to satisfy”. Pronounced ɛɡzose, the word seems to dance around the forms of movement captured by renowned choreographer, filmmaker, photographer, and founder of LaLaLa Human Steps, Édouard Lock. It’s on a journey to discover what facet of action is transient in each study. Is it looking “to grant” or “to fulfill”? Is it looking “to answer,” “to satisfy,” or to satisfy by providing an answer? There are moments of pause, moments of flight, and moments of reaction followed through by the dancers’ bodily motion laminated in black and white halo. Are they trying to fulfill the full extent of a pose or an emotion, grant a desire, or satisfy the present?
Installation view with (L-R:) Édouard Lock, EXAUCÉ 26, 27 and 28 (1998/printed in 2025), digital giclee print on Hannemuhl photo rag paper, 17 x 22 inches
The transient quality of each study perseveres in the blur of motions and the approach to the distortive logic of the photographic lens. Unable to have multiple takes, the preparatory work for each photo involved lengthy set ups such as making sure the distortions, or the blur effect were zoned in on the right body parts and verifying that the dancer was at the right distance from the camera. Despite the work done before each shot, there were still constraints that induced mistakes but were welcomed for its fresh take on approaches and options. In response, these photographs capture fleeting moments in the transition of movements, accentuated by the singular spotlight against the dark background and the blurred focus on the elongated legs of the dancers. This process reflects the soul of a combined contemporary dance and ballet pointe technique where structured dance inspires interpretation and improvisation.
Édouard Lock, EXAUCÉ 22, (1998/printed in 2025)
Battling the traditional ballet lines that emphasize an idealized construct, these photos prioritize other types of “distortions”. From the lens’ perspective, these distortions counteract the ineffectiveness of traditional ballet lines that are responsible for making a high leg extension approaching 90 degrees to look like a shortening of the limb. The ballet pointe, a technique that imbues resting the dancers’ entire body weight on the tip of their toes, amplifies the muscle tone and length of their legs. In that split second from par terre to en pointe, the spotlight moves from the dancer’s body to their legs, made prominent by the pointe technique and gaining authority as each pointe touches new ground. It is the focus of ballet movement and the focus of Édouard Lock’s distortions. Through this series of studies, the artist reimagines dance and movement through the lens by focusing on the complexity of movement patterns, the speed at which the dancers are moving, and the shadows that highlight muscle tone or conceal certain body parts. These qualities make up the vision of boundless movement, elegance, and beauty, not measured by idealized standards of proportions, gender, size, and age.
Édouard Lock, EXAUCÉ 2, (1998/printed in 2025)
As LaLaLa Human Steps enters a new era, lingering memories of the past are confronted with a desire to inquire about the gaps left by the absence of formal dance documentation. A mirage of snapshots capturing the fluidity of ballet movements and its elegance, the dark areas spilling into the negative space invite viewers to insert their own participation in the evolution of dance. The shadows aren’t only spaces of ambiguity and incompleteness, but an opposing force that works together with the light to direct the viewer’s eyes to the central elements of each study such as facial expressions and leg lines. It also works as a muting function on legs in par terre position in individual snapshots or when situated against legs in en pointe position, centering the gravity in each photo and the entire exhibit around the future in en pointe and the par terre past melted into the shadows.
Édouard Lock, EXAUCÉ 24 (left) and 13 (right), (1998/printed in 2025)
An analytical take on the dichotomy of deliberate and impartial photographs, these works express intention through setting up dynamic movement usually captured without any interference. In these repeating conjunctures of balance and imbalance, Édouard Lock uncovers an interspace image of soft lines and visionary construct of the company’s future. Drawn by natural influences, dancers captured as duets react to the imaginary forces surrounding their movements by either mirroring each other in opposing directions to create balance or imposing an imbalance by moving in the same direction. Solo posers are encouraged to engage with the fragmentary shadows, in search of forming a whole, whether it be working side-by-side or as a supporting role.
Édouard Lock, EXAUCÉ 34 (left), (1998/printed in 2025) and entrance (right)
Shown for the first time, this study series is a tribute and commemoration to the LaLaLa Human Steps’ transition from contemporary dance to ballet pointe technique, a culmination of the past and future focused on this pivotal moment.
Text and photo: Sherry Qin
*Exhibition information: Èxaucé: Ballet Studies by Édouard Lock, May 15 – June 7, 2025, Atelier Next Door (AND1357, 1357 Dundas St W, Toronto. Opening hours: Wed – Sat 11am – 7pm.