Winds have always been seen as singular beings all across the world, as shown by their names and the definite article that precedes them: the noroît, the mistral, the sirocco, the harmattan etc. In many civilisations, winds were divinities – Aeolus in Greece, Fūjin in Japan and Shu in Egypt. But it was not from mythology that Bernard Moninot took his inspiration; it was another imaginary world in which entomologists’ subtle hunt meets science, with its explorations and experimentation. In the middle of a plain or on a hillside, he arranges his instruments: from the end of an arm mounted on a tripod, he hangs a round glass Petri dish whose surface has been coated with lamp black; beneath, he fixes a stylus to the end of a twig or a plant stalk. Disturbed by the wind, the stylus inscribes its movement on the surface of the glass for around ten seconds. The result is a graph showing a brief sequence from the invisible film of the wind, captured in its corpuscular being, like the movements of particles in a cloud chamber. (extract from the Chambre d’écho catalogue, Château de Sucy, 2019 – Renaud Ego)