The pictorial organization of this surface again takes the idea of the triptych. I placed a painter’s ladder in unfinished wood with its feet on the ground directly at the center of the wall. It materializes the path of horizons that withdraw from the original plane. Bearing symbolic importance, it is a perspective withdrawal at a constant setback. The absence of a character at the center symbolizes its elevation and its disappearance. The stretched out calligraphy of a character appears on the left-hand third of the paper. The strata of the competing horizon lines are reunited in the joints of his skeleton that reveal the gaps of the bone structure. On the right-hand side, a crumpled, white paper figure, possibly glued by a billposter in the style of Fernand Léger that could have also used the ladder makes the connection between that which lies underground, the iron metro (en fer which means of iron) enfer (hell), and the azure sky. This presence reminds us, by its form and its resonance, the rustling of silk paper in shoeboxes. It refers back to the gesture of twirling a lock of hair through which the edge and the figure come together as one. I mixed some sand with the pictorial material on this side to evoke the diffused sensation of a wall. Lightly tinted blue, in reference to Mallarmé’s azure blue, it reminds me above all of blue sky of my youth’s innocence in Argentina, tied to its “mistress.”
“Such particular images from childhood, rich from not yet knowing, richly vast, a desert, rich in their nescience, like a river that flows (the adult sold the vastness for location), images that aren’t yet linked, dense in all that escapes them, stifled by the not yet decipherable,”
Henri Michaux, Passages.