Originating from a process that begins with the accumulation of organic matter on acetate sheets, the large-format images in the exhibition Indicia evoked “a scientific imaginary” and suggested “the point of view of a microscope,” according to Michel Hard-Vallée. Through this nature-based practice, which aligns him with photographers such as Michael Flomen, Sara Angelucci, and Normand Rajotte, Yves Arcand probes the indexical dimension of the photographic sign while working at a remove from his subject. This “first assessment” of a decade of research, the critic argues, calls for a continuation.