A face projected on a face, or the mise en abîme of the identity.
During a workshop day that I conducted as part of the Master Digital Media of the University of Grenoble in November 2016, I photographed the projection of a face on a face made by students, moment after moment. Morgane Le Cœur lent itself to the game of being thus photographed. These images have remained in my memory, and several months later they came out, signifying their presence.
I have preserved the series, for it seems to me that the cubism of these images is revealed not in the bosom of each image, but in the relations which they maintain with each other.
It is the “exercise of style” that opens up to the nuances of perception, which we would not, I believe, have in a vision of each image taken in isolation. It is, surprisingly, for me, the time of the circulation of the glance of one to the other that makes them exist each one in depth. In short, pictures to watch as a movie...
Because of the mechanical nature of its technical function, photography is for me a matter of time rather than a visual matter : in its silver salts, or its pixels today, it is time which is captured, preserved, reinvented at every glance. Time of life, time of vision, time of poetry.
Painting is the original material of plastic work, which is intimately connected with photography, because it also contains the time of its gesture and its imagination.
Artistic installation, the existence in space and time of artistic forms is crucial because it is the way in which the work is modified by its relation to the spectator.
These practices interact with my work as a filmmaker, have always intermingled.