The nose and eyes are absent. This creates a vacuum which gives more power to what we can see. Science has shown that when a person loses one sensory capacity, the others senses can compensate by becoming more acute.
The vacated parts of the faces are in front of us, their absence holds our attention. At first, the spectator’s gaze is attracted to what is missing. Then it slides towards the mouth which becomes the place where everything is concentrated. Thus, the vacuum, the disturbing absence, provides an additional
presence for the mouth which now must remedy the lack of identity of the eyeless face, incapable of communicating or being deciphered.
The sound which pours out is all the more powerful in the absence of the other senses. Since sound cannot be represented, I have accorded the vacuum a concrete role as an element of the scenography. In other words, the vacuum comes into existence through the sound.
To remove the eyes and the mouths of the people isn't an act of mutilation of the photographs in this series. This act sublimates the ‘real’ by injecting a different vitality.
I am looking for one sound. One sound which could represent Humanity. Each mouth shouts the same scream like a chorus in the face of the human condition.
In this series of photos with an underlying theme of violence, the photographs don't speak about agony, confusion, anxiety, horror... thus are quite different from the painting by Munch, whose title I borrowed for this series. The characters are not terrorized. They are rebelious, committed, militant, belligerent
characters. Several mouths are voicing the same scream; the scream of all times and of all the places. No eyes, noses or mouths are isolated on the faces. That makes it possible for them to share a single soul, the soul of humanity. That's as the aria in an Opera: the singer sings the aria after the
recitative when the story is reaching a point of no return which only the aria can take forward.
We are in the 21st century in a real country. A new law that introduces a range of·restrictions on women, and permits, among other things, marital·rape. The law was approved by both houses of Parliament and signed by President. Women and and rights groups abroad have protested three parts of the
One provision makes it illegal for a woman to resist her husband’s sexual advances.
A second provision requires a husband’s permission for a woman to work outside the home or go to school.
And a third makes it illegal for a woman to refuse to “make herself up” or “dress up” if that is what her husband wants.
About 300 women, facing an angry throng three times larger than their own, walked the streets to demand that Parliament repeal a new law that introduces a range of·restrictions on women, and permits, among other things, marital·rape. The reaction was immediate. Hundreds of men poured into the
streets to confront the demonstrators. “Death” the counterdemonstrators cried, encircling the women.
POINT OF VIEW
In the video, the men are prisoners of the word they are shouting : "Death". We don't hear them, we just see they are screaming. The men's chants condemn the demonstrators but it is also a self-condamnation through the absurdity and the vanity of this power they claim for themselves. The women who
are the subject of news item are not visible in the video because they have no legal existence through this law.
On the pictures, the faces of dolls don't have a mouth. female sex from plastic sexdoll replace the real mouth. These blurred doll pictures reflect the inferior even non-existant status of such women. The only clear part of their face, the mouth, about which the State has spoken is not to be heard, only to be
used. Obcenity affects all of the mouths in the installation beginning with those of the men. What is more obscene than demanding death to those who only wish to exist as persons.
- 4 photos : as large as the hight of the wall ( max 4 meters; but it all depends of the possibility of the step back.)
PRINCIPLE : Each of the 4 photos are on the 4 opposite walls. According to the photo which a person is looking, he/she hears in her/him earphones, one of the four questions (one loop (2 min) with different tones):
What do you say ?
Whom do you address ?
Do you spoke to me ?
Can you repeat ?
STATEMENT OF INTENT ON THE PROJECT : The 4 photographies of the "Echo" series speak about the malaise of the communication in our societies. Everywhere people complain not to be understood, not to be able to express them while often they speak only about themselves and don't listen. The
endless requirement that we have from people results in a relational impasse.
ARTISTIC STATEMENT : The erasure : I work on the erasure of the forms. The blur allows me to work the passage from a moment to an other. The speed is in suspension there. I try to find the moment when the forms are hesitant to exist and then are hesitant to disappear. This hesitation is translated in
the form with a wider and more confusing print. I let to the form just enough voice to murmur its existence and just enough presence to glimpse it when it is passing. The framing : The framing is a space of representation, a stage. It proposes a scenography. The position of bodies opens a place to breath.
The Black and White: the use of the Black and White prevents the movement to reach our retina in a diminished way. Thanks to the BW, the movement can be distinguished across a flow of informations. It isn't reduced to a variable importance in which it isn't essential. The BW extricates the movement
and the shape from the gossip and from the noise. It allows them to appear in a "ring box" of silence.
8 images on the wall from the floor to the ceilling (the size of the pictures depends on the height of the wall). The pictures are hung in column, one above the other. The eight pictures compose what the title invites us to imagine : a trunk.
From the pictures, people eat apples. The open mouths dominate the framing space so much that we might think the mouths are swallowing the fruits. An animal rage seems to animate people as assailed by hunger.The faces orientation, turned alternately to the right and then to the left, is part of this
feeling of vital urgency. Closed eyes lead to the idea of an enjoyable a.
The gradual erasing of the image sharpness, in an upward direction, creates an internal rhythmic movement to an abstract final shape in which the apple and the face merge just in an only one shape.
The Talking Tree is a symbol of communication in French-speaking West Africa. Under their shadows, public spaces for meetings and chats take place in the villages. The semantics of the term "tree" in many african languages refer both to the meaning of a vegetable species and to the meaning of a
remedy or medicine : "the human being is the remedy of the human being" (wolof adage).
The use of this expression spread out of Africa has imperceptibly changed from the focus on the tree to the anthropology of dialogue as the source and means of agreement between protagonists. With the title of the series "Talking Trunc", the first motivation to create this specific space of encounters no
more exist. If the branches and the foliage disappear there is no shadow. The fundamental reason to be under this tree no more exist. Is the tree sick, is it dead ? The irreducible conflictive nature of social relations and between opinions, seems to have lost a place to resolve the problems and to
The apples seem to come from the missing branches. By greedily swallowing the last fruits of the apple tree, the mouths are condemned to disappear too. The human specie condemns itself when it destroys its environment: "we are cutting off the branch we are sitting on".
VIDEO LOOP 2 MIN
The splitting of the representation of the character into several images allows him to embody Plato's idea of time. He is himself 'the mobile image of the immobile eternity'.
Confronted with the deluge of evils of the contemporary world that agitate his thoughts, the human-being is a opened sluice to the torrent of the elements of life and death that rub against him.
"(...) There is the video of a woman put in loop and which breaks in the telescoping of the inside and the outside, of the opened and the closed, of the illusion and the reality, of the lie and the truth (...).
Danièle Delouche Extract from the text of the catalog, exhibition Chateau de Linardié (2004)
Two frightened looks share the work of observation of their environment. Two mouths seem to consult each other. The shift of the face in four sections contains the tension that animates it.
Fingers, now matter, protected under large hands, are embedded in geological strata revealing an organized internal arrangement, a complex almost abstract world of lines and rhythms.
The phenomenon known as the "butterfly effect" suggests that the flapping of a butterfly's wings in China can lead to the formation of a tornado in Florida; we are all connected to each other, living beings and planet.
The four photos together, with the hands resting on the small piles of fingers huddled together, resemble the wings of a butterfly during the day. They seem to come alive in a flight whose lightness contrasts with what we imagine to be the weight of all the fingers.
A man approaches with a white flower necklace. We do not see his face because the framing is done around the necklace, so we do not know what his intentions are, even if at first glance, it is simply to place the necklace around the neck.
The approach becomes clearer thanks to the variations in the size of the image and the gradual close-up on which the flower will take all the space. The fact that our gaze is under the constraint of the framing brings a threatening dimension to the flower that slides and fades upwards. The black space that
remains as the last image of the scene can only correspond to the shirt of the necklace wearer. Here, doubt creeps in about what is being played out in this intimacy.
The photographic triptych summons the gaze as one speaks. Around a rear-view mirror, children look at us as if we were sitting in the passenger seat of a car. In the three photographs, three glances follow one another, framed in the three spaces offered by the car window. They stare at us one after the
other and never let go. The only movement that appears and disappears, the glances lock themselves in the cramped space of a close-up.
Metaphor of the state in which we leave the planet to our children, the triptych represents us, we in the car and the children outside. What are these children thinking, who seem to judge us and whose intense questioning surrounds us in their closed ecosystem?
The quadriptype composes a chronological scene. The bottom picture is on the ground as the 4 feet of the 2 children. The one above shows the feet of the girl taking off. On the third photo, the boy's feet also take off to join the girl's feet at the same height. Finally, on the last photo fixed at the limit of the
ceiling, the girl takes height.
The video : two children are playing. They are twisting each other. Great smiles are flourishing on their faces, but suddenly, if we look carefully at the boy's gestures, the game changes. The violence for the boy is like a game but not for the girl who receive the punches and lost her smile. She breaks away
from the boy and turns on herself with her head backwards as if drowning.
These video was taken unexpectedly.
The picture is a frame extracted from the end of the video.
This page will be updated soon. It is in progress
- 41 pictures
After running in a spiral from the center of the rectangle to its edge, a woman, of whom only the bottom of the striped dress can be distinguished, comes out of the rectangular shape. We can then distinguish her face in profile.
In geometry, a spiral is a plane curve that describes revolutions around a fixed point, moving away from it more and more.
Thus, the woman describes revolutions inside a rectangle (house, tradition...) to leave it. Revolution in itself that this departure of an interior to which the destiny of the woman was reduced for a long time until her name is juxtaposed with that of her universe: "mistress of house", "woman of interior", "woman at home"... A being whose usefulness was inscribed within four walls but who did not belong to the world. To act outside the family sphere was the first conquest of the woman as a political being. It is on the capacity to act, therefore to choose, that human freedom rests, and this is why the act of leaving the rectangle was the first act of liberation of the woman.
The course of the center towards the outside also has something of a labyrinth, metaphor of place of confinement but also archetype of any initiatory step. Symbol of the absurd and frantic wandering of a trapped game, the labyrinth becomes the place from which one comes out at the end of a successful quest.