Speaking of ghosts, it feels as if Fournet's work is populated by specters of a historical and mythic past dredged from Europe's dusty cultural attic. The surprise is that the photographs Fournet has exhibited in Memphis over the past four or five years have been largely based on her "Sticks, Stones & Bones" series of stark, yet dream-like black-and- white images taken in an Eastern Europe, where time seems to have stopped somewhere between the Middle Ages and 1910....
The "Lost Promises" sequence conveys an aura of unstated narrative in the detritus of forgotten lives, faded and misplaced letters, scenes of childhood from houses and villages that no longer exist, aimless immigration and ambitions and desires crazed and cracked from neglect and disappointment. In such beautiful and intricate constructions as "The Egg Farmers," "Russian Circus," "She Waited for News," "Mail & Memory" and the irresistibly titled "She Burned Down Some Lovely Places," Fournet establishes a tone of nostalgia and longing that never segues into romantic sentimentality, a feat that argues for an iron will on the part of the artist.
We look to art for the right questions, not for answers, and in these series by Coulson and Fournet viewers will feel as if the questioning includes them on an almost intimate level. Who are we? What is our past, how are we connected to it, and what does it mean to us? How many layers of personality and sensibility do we contain? It's up to art such as this to make us listen, deep inside, to the answering voices.
--Fredric Koeppel, Go Memphis