This birth of the human silhouette metonymically takes us back to the origins of cinema, to Marey or Muybridge’s pre-cinema. Baért with his model wanted to re-find the dancer Loie Fuller’s aerial movements such as one can see in Fire Dance (1901). This research for origins continues with the malleability of the ‘imprints’ of the dancer and the circulation of materials and lights.(…) Imprint plays, from the point of view of form, with the material, the identity, the hybridization between film and skin, material and light (…), towards the constitution of a new organism where skin and celluloid acquire an even esthetical status, a true melting pot of malleable images and thoughts.