Born in Seven Islands, Quebec, and now based in Vancouver, BC, Latour’s creative journey is as layered as her work. A self-taught artist, she has spent over two decades in special effects makeup for film and television - crafting fantastical creatures and cinematic illusions. Since 2006, she has also pursued photography, and it’s in this intersection of disciplines that her extraordinary series, Bound Species, takes root.

In an age increasingly defined by artificial intelligence and digital manipulation, Latour’s practice feels refreshingly human - and profoundly tactile. Each piece is an ephemeral sculpture, hand-built from fresh flowers and plants she sources locally. Her “species” are temporary beings, part sculpture and part photograph, existing for only as long as their petals last. Some are documented in the studio, while others are briefly released back into the wild, returning her imagined creatures to the ecosystem that inspired them.

The results are beautiful, flowers fused in unexpected harmony, stems meeting in improbable unions, petals reimagined as limbs or plumage. Her floral hybrids recall the structured beauty of Karl Blossfeldt’s botanical studies and the playful subversions of Joan Fontcuberta, yet remain unmistakably her own - tender, uncanny, and alive.

Latour began creating her “new species” during the first lockdown in 2020, a time when many of us turned inward, seeking small acts of creation and connection. Her sculptures, part floral alchemy and part quiet rebellion, remind us that nature itself is a master of reinvention.

Each piece in Bound Species feels like a portrait of resilience and interconnectedness - an exploration of how things grow together, adapt, and coexist. They stand as poetic symbols of unity in difference, and of beauty that thrives in transformation.