Τhe series Viewers at Work, is an original series of photographs depicting viewers interacting with the installation niform, that constitutes a reflection on the relation between the viewer and the limit of the law. Bianchini’s interactive strategies invite the active engagement of viewers who are staged and at the same time interfering with the setting.

The installations of Samuel Bianchini, whether in situ or online, constitute aesthetic experiences which evolve by means which are often conflicting and never fully resolved. The aesthetic and mechanical aspects of his interactive strategies suggest a staged no less than a participatory procedure, providing a fertile setting for the active involvement of viewers which is staged and at the same time inviting interference with the setting.

In order to explain this kind of experience by the public, in 2006 Bianchini started work on the series Viewers at Work, an original series of photographs depicting viewers interacting with the installation niform. Here, viewers' coordinates determine the focal point of the image before them: depending on their position, as they move towards the screen a part of the image gradually comes more clearly into focus. At a distance of about fifty centimetres from the screen, the viewer comes face to face with a sharply focused officer of the law.

The large-scale image, featuring life-size portraits, has a variable rather than a fixed depth of field which shifts according to the viewer's position and shape. Beginning with an initially blurred image, each viewer contributes by his presence or movement to the increasingly clear focus on an individual person.

The images of law enforcement representatives raise a legal issue, since once in focus, each of them emerges from the uniformity of the group to become a recognizable individual. Though without losing its ambivalence, this variable dimension of Bianchini's installation is negated once fixed on an individual photograph.

Samuel Bianchini was born on 1971 in Nancy. He studied art by many different paths, including fine art, applied art and engineering, leading to a doctorate at the University of Paris. His work often lays claim to a median position between art and research. His multi-media and often hybrid works including What's More With Many (2001), Free Time (2004) and Crossing Values (2008) incorporate cutting-edge technologies, often with the contribution of artists and researchers from other fields, as well as performative practices. A common thread is the element of interactivity, since Bianchini invites viewer participation through direct experience, posing questions not only on the nature and the experience of contemporary art-making, but also on the role of the artist as well as the viewer.

His photograph series Viewers at Work is part of the research project Praticables. The Work of Art as "Dispositif": Setting the Stage for Audience Participation supported by the French Research Agency (ANR).