« Story of the Eye » is a photographic adaptation from Georges Bataille’s novel which was first published clandestinely in France in 1928. Each photograph is named after and refers to a chapter of the book.
Having a love of surrealist literature, the world portrayed in the novel fascinates me. I am equally inspired by the atrociously seductive scenes, raw, unconventional and fanatical; as I am by the book’s surreal eroticism. The resulting mix is a sacrilege of society’s moral code, and can not exist without the idea of good (moral) and evil (immoral and degenerate).
The photographs are an expression of the complex surreality of some of the book’s most poignant sexual fantasies. The unusual postures and scenes suggests pain, ecstasy, defecation, and even death, but all represent sexual scenarios portrayed in the novel.
While taking inspiration from the book determining the content of the photos, each composition is a careful balance of traditional elements and new technics. I reference the traditional still life, but also crop the image in non-traditional forms referencing the content of that particular image.
This work is a tribute to writing because it is fundamental as an artform. Written language allows us to organize our thoughts, yet it also allows us to deploy our imagination; It can ignite our senses, emotions, and most importantly our passions.
The RYB (Red Yellow Blue) primary colors is the foundation of color vision used by painters. Nowadays television and video displays use additive primaries and the RGB (Red Green Blue) color model. The photographs are screen shots from streaming television obtained after causing a network congestion. A work referencing to abstract painting and using digital as a material.
These images are screen shots of a video conference.
From the camera to my computer, the network is saturated, the received images lack information.
Human portraits in screen format. The web camera records images without focusing, without taking into account space and perspective. This affords a malleable result, unexpected, closer to a drawing, a painting, to living matter.
Working the photographic material.
Instant capture of a human imprint.
“I think man now understands that he is an accident, that his existence is futile and should play an inane game. “Francis Bacon
Interference destroys my portraits accidentally and violently. In the same extreme way that Francis Bacon destroys human figures. Interference materialises, sometimes exploding the human anatomy, diluting skin and creating new forms. A new image is born, an accidental image, an independent image.
A blend of colors, tasks and pixels express the accident, the absence, neglect, death, the Approximate Man.
“My paintings are accidents” Francis Bacon.
Abandoning the body is a spiritual experience. The body retains an imprint of ecstasy and fulfillment, sometimes even of suffering, at the border of consciousness and nonconsciousness.
Chiaroscuro is a method of increasing the dramatic tension, of freezing the attitude of a precise moment. In Caravaggio’s pieces, the chiaroscuro technique has a symbolic meaning: the soil is sunk into the darkness, and the light brings out the divine intrusion. In photography, the chiaroscuro not only allows me to evoke the dialectic between fullness and emptiness, but also to create a feeling of presence / absence, and to emphasise a beat between apparition / disappearing.
At first, there is an astonishment within myself, about being a part of the world, about existing. This amazement comes from the fact that there is something rather than nothing. How to seize the difference between the life – consequence of biological strengths – and the action of living – a matter of cognition?
“Passage to infinity” is a title inspired from “Art of dreaming” by Carlos Castañeda, it describes how to perceive other worlds and travel. During the trip, the dream and imagination appear. We are rediscovering the essence of things in its various aspects, our soul merges with the matter, the spirit is released and infinite.
These photographs are inspired by painting and mythology. Erase time and talk about the eternal, the universal, the human: as Daniel Arasse said in “Anachroniques” about the pictures “Morgue” from Andre Serrano “as these paintings whom, in the folds and draped, express the movements of the soul”.
Pictures of the bodies taken up close and inordinately enlarged, appear to us metamorphosised into a strange sight.