The photographs of Venetian mirrors constitute the culmination of Belin’s work on “reflective” objects, directly linked to the possibilities of the medium. Thus, these mirror photographs are not so much “photographs of objects” as of their luminous spectres – capturing on the sensitive surface the light reflected back by their body. The mirror object is presented without a trace of naivety for its evocations of loss, transience and absence. Here, this narcissistic objet reflects only itself, ad infinitum, until it becomes self-cancelling. Which is why these pieces can be compared to memento mori or vanitas.