“Cinema is the act of making music with painting”
This installation that integrates the projection of images has for its objective to state and reinforce the its proper significance. It creates as well a situation in which physical connection with the object establishes itself by the spatial domain’s definition. The projection of images carries itself out on three different supports in terms of material and texture, (I called them “columns”). Their disposition permits playing with the domain’s depth and, in the creation of intervals, the establishment of gaps and dissociations.
The left column :
The image inscribes itself on a sheet of fine, white fabric, calling forth curtain of a door’s window. The vertical folds evoke the grooves of a solid column but the supple material of fabric is subjected to the air’s whims. The image could take flight, in “infra slender” of the inside/outside. It is necessary to take note of the simulacra of a dematerialization along the lines of the story that constitute an immersion to the extent to where one projects himself in the transparence of the images — much like those that we find in dreams.
The middle column :
The projection’s support is made of an iron sheet. I immediately think of hell’s prison because of the visual anachronism that occurs simultaneously between an apparition and its enclosure within a surface of rough angles. This central part is the most elaborated, the most complex, the most devious, and many contradictory notions muddle and superimpose themselves there. We are in Plato’s cavern occupied by shadows and chimeric visions or in the cave found at the interior of a mine in the mineral. This plate also acts as a mirror where our proper image just begins to reflect itself. At first it superimposes itself then returns the beholder back to himself. Indeed, in this kind of situation he is directly solicited. The metal plate is suspended, immobile, but it could move, that is to say, conduct a pendular motion or tremble. Then it emits the sound of thunder. Striking it would suffice to convert it into a cymbal.
The right column :
Superimposed white cement cinder blocks create a tower where the image of a character and his shadow has just been projected, the immobile voyager. By the shadow’s thickness, it appears to be the most important of the three elements of the scene’s system. It erects such a column that it becomes the corpus, or rather, a monolithic block where the image of the figure takes his body from the mass of his own support. It’s a way in which to stop time, “to suspend the night”, to give weight to a fugitive shadow, to block temporality. In addition to the image’s severity and the roughness of the material, its deaf resonance accentuates its silence; this gasping dullness listens. The element’s disposition constructed by strata recalls the ladder’s journey, which seems to form the vertebral column that participates in the represented being’s edification and accentuates its isolation (“solitary, solidary”). It creates a distance effect, of rupture.