Two white papers, twins, one consisting of text, the other drawings, short stories gather visual narratives closed on themselves, but drawing the son of a tangle of knotted balls by the same purpose: the incursion, the irruption. Depending on the appearances and disappearances, the narrator peak resurgences fulgurantes bicycles, antennas and raspberries, or looking for a telescope clochard film.
Two white papers, twins, one consisting of text, the other drawings, short stories gather visual narratives closed on themselves, but drawing the son of a tangle of knotted balls by the same purpose: the incursion, the irruption. Depending on the appearances and disappearances, the narrator peak resurgences fulgurantes bicycles, antennas and raspberries, or looking for a telescope clochard film.
However, these language games especially trace gradually the contours of a definition of the singular position of the artist.
The stories s’égrainent in the third person of the imperfect, sometimes invectiva the drive, featuring a few duets – or duels? – Between a "he" and "She". Aphorisms change the tone of the drama, contrast in the strong net in the form of non ultra condensed narratives, like a rolling stream – as in this video performance where we see the artist believes crawling in a trench, hidden behind foliage [Untitled (Creek)].
On the other side of the mirror, the strokes of characters lanky arise from the corner of the sheet, fitted mechanical accessories, entered into a hybrid anatomy, which is shortened by muscle. Suspended on the page they sometimes white silence for a partition of the disappearance.
Between texts and drawings, this entrechoc mental evocations only a desire: to extend the immersion watching the important work of video-performance artist, to link up these joints polysemic and dynamic. As an open work.
Two white papers, twins, one consisting of text, the other drawings, short stories gather visual narratives closed on themselves, but drawing the son of a tangle of knotted balls by the same purpose: the incursion, the irruption. Depending on the appearances and disappearances, the narrator peak resurgences fulgurantes bicycles, antennas and raspberries, or looking for a telescope clochard film.
However, these language games especially trace gradually the contours of a definition of the singular position of the artist.
The stories s’égrainent in the third person of the imperfect, sometimes invectiva the drive, featuring a few duets – or duels? – Between a "he" and "She". Aphorisms change the tone of the drama, contrast in the strong net in the form of non ultra condensed narratives, like a rolling stream – as in this video performance where we see the artist believes crawling in a trench, hidden behind foliage [Untitled (Creek)].
On the other side of the mirror, the strokes of characters lanky arise from the corner of the sheet, fitted mechanical accessories, entered into a hybrid anatomy, which is shortened by muscle. Suspended on the page they sometimes white silence for a partition of the disappearance.
Between texts and drawings, this entrechoc mental evocations only a desire: to extend the immersion watching the important work of video-performance artist, to link up these joints polysemic and dynamic. As an open work.
Cécile Camart