This body of work named Pandinus Dictator is based on a customs seizure in Roissy of 119 scorpions of the protected species Pandinus Dictator, reputedly toxic and highly sought after by collectors. Coming from Cameroon, these live arachnids were intended to be sold via a Facebook page in the United States.

The artist went to the customs to take pictures of them one by one. She assigns them different degrees of ability (Venom, Strength, Resistance, Self-Control) through a skill diagram engraved on the glasses of the frames. This diagram makes them switch from the entomological classification to a system that gives them an exchange value.

The photography field extends to the object, especially through the flow and the varied of the scorpion pattern. She displays an installation based on repetition, analogy and dispersion that reffers both to Karl Blossfeldt early 20th century photographic surveys and to André Gunthert’s recent theory on conversational photography.

The world of scorpions’ collectors, amateurs and specialists is explored by Caroline Delieutraz in a video similar to Web navigation. As a red thread in this video, the making-of of the photo shooting shows an anonymous hand placing the scorpions so as to make them more photogenic. This gesture evokes picture production and manipulation. According to her favourite method, the artist combines this making-of with excerpts from newsgroups and with amateur footage or adverts. Then, the pictures she makes are reinjected in the flow. She also makes them circulate on smartphones caught in luggage racks, thus recalling the scorpion’s capture, the arachnid web or the camera viewfinder grid.

Between repulsion and the desire to own, this symbolic capture through photography highlights the power relationships that are woven in the flow of pictures and their almost subliminal influence on our aspirations.