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The city
is not really an entity, rather a juxtaposition and a stratification
of different and sometimes contradictory elements. Our perception
of the urban space is eminently cultural and dependent on tools
which allow us to understand the world (master - or not, of the
language, the family and social story, the education, the faiths,
the mobility, the age, the sex).
Etienne Jules Marais and Edweard Muybridge tried to decompose
the movement, to uncover the secrets of the human and animal
locomotion, in images where the aesthetic dimension sometimes
takes it on the documentary aspect and the scientific interest.
Duchamp was inspired by it in its nude descending a staircase,
and there are many artists who made the bards of the speed which
symbolized the modern life at the beginning of the last century.
For my part, I tried to recompose the perpetual motion which
shakes the city by stacking consecutive temporal elements, playing
the transparency of the film which allows this " crossing
of appearances ". I redistribute in my way the space to
those who crossed it, crumpling up trajectories, forcing the
meetings and making strata so thin and permeable the some in
others than the immovable space and the built take care of a
density and a presence contrasting with the translucent aspect
which characterizes the passage of beings in movement. Atget
made so that they disappear for the benefit of the durability
of the city, I convene them on the contrary to slow down the
faint of the life in the space and the time which still escape
and always the control.
I do not wish that their forms dissolve, but that they register
an immanent lightness which opposes to the weight of bodies.
In the received image, at the same time fixed and unstable, the
glance floats as in a dream, a mental image, everything seeming
to him(her) at once so familiar and nevertheless so different...
How in a movie where would lengthen on the retina the obstinacy
of the images, recovering the some the others, without masking
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