NEW PAINTINGS FROM
THE EXHAUSTED MAN
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A.K.A. THE EMPEROR
A.K.A. THE LONELY MAN
EXHIBITION ICA SINGAPORE
Antoine L'Heureux: The Lonely Emperor's Journey a.k.a. Becoming New Gods a.k.a. ...
NEW PAINTINGS FROM
A.K.A. A NEW NEW MAN
A.K.A. THE LONELY MAN
A NEW NEW MAN
AFFIRMATION, POST-CRITICALITY, BEYOND THEATRUM MUNDI
Installation views, PhD Examination Presentation, Goldsmiths, London, 2012
Number 17, Stars series
Oil on canvas, 92 x 62 cm, 2010
Dispositiō, Tendency of the Mind (Double)
Variable number of 10 x 15 cm photographs, 2012
Collages of photographic paper, frames, 80 x 60 cm each, 2011
Paper-Plane-Paper-Plane-Paper... Flights Towards the Sun from Sunrise till Physical Exhaustion. Two Plane Models Repetitively Interchanged - Inside Face
Unfolded -plane, frame, 38 x 30.5 cm, 2011
To Dig The Earth
HD video (no sound), 3min46sec, 2011
Soundscape: Journey Towards a Future Unidentified Bird
Surround sound audio file, 9min45sec, 2012
To Dig The Earth
HD video (no sound), 3min46sec, 2011
Journey Towards a Future Bird
surround sound audio file, 9min44sec, 2012
The work is a bird soundscape which traces a journey towards an encounter with an unidentified future bird.
The work is not a performance, but the simulation of the performance of an absolute movement or journey through which the new emerge, through which the future comes into existence in the form of a bird. The symphony of nature tears itself open onto the Outside only to be simultaneously “re-patched” in its middle with the emergence of a new bird.
* Journey Towards a Future Bird.mp3 - left click to play in browser if supported or right click and select Save Link As to download the MP3 file [13.5 MB]
Paper-Plane-Paper-Plane-Paper. Two Night Flights Towards the Polar Star
and frame, 80 x 60 cm, 2010
Paper-Plane-Paper-Plane-Paper… is the relics of a process through which I flew a in direction of the Polar star for two consecutive nights. Night falls. A piece of is folded into a plane. The plane is flown by repetitively throwing it towards the Polar star until physical exhaustion. The plane is unfolded. Night time comes. The same piece of is refolded into another type of plane. The plane is flown by repetitively throwing it towards the Polar star until physical exhaustion.
Details of installation of 23h46m11sec, 15th July 2009, Como, Italy & 02h20m24sec and 25th Oclober 2009, London, UK.
That which the photographs give to see exceeds ordinary human views. I frame the photographs with a semi-reflective material to render explicit in the aesthetic experience the contrast between the two types of perceptions.
A POETICO-ETHICAL JOURNEY: THE BLACK-THROATED DIVER AND ADAGNY THE BEAUTIFUL LITTLE SWEDISH GIRL IN WHITE AND ...
POST-CRITICAL/AFFIRMATIVE (THEATRUM MUNDI)
PART ONE: THE BLACK-THROATED DIVER AND ...
Repetition Of and For A Journey
Script, 50 A4 pages, 2008
The work is a script in textual form composed of six scenes: The Encounter with an Ornithologist, Re-writing a Legend That Never Existed: The Migrating Bird and the Star Dust, Post-mortem, a Record of the Expedition in the Great North of Quebec, Adagny the Beautiful Little Swedish Girl in White, Particles and Black Holes, A Letter from China.
It is both the textualization of works in different mediums pertaining to the first part of the project A Poetico-Ethical Journey (i.e. the Black-Throated Diver and …) and the narrative development of the Journey into its second part (i.e. Adagny the Beautiful Little Swedish Girl in White and …). From then on, as exemplified by the exhibition at Platform China Contemporary Art Institute in Beijing in 2008, the project was exhibited exclusively as text and photographs.
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Post-mortem, a Record of the Expedition in the Great North of Quebec
video, 4min33sec, 2006
The Travelling Bird and the Star Dust
audio, 19min20sec, 2007
* The Travelling Bird and the Star Dust.mp3 - left click to play in browser if supported or right click and select Save Link As to download the MP3 file [22.6 MB]
Images from Encounnter with Amelia
unbound book, 2006
video (no sound), 11min46sec, 2007
Details of Music Sheets of a Lost Randomly Generated Piece of Music
39 music sheets, 2007
Exhibition map and installation views of A Poetico-Ethical Journey: the Black-Throated Diver and ... , Winchester School of Art, UK, 2007
PART TWO: ADAGNY THE BEAUTIFUL LITTLE SWEDISH GIRL IN WHITE AND ...
Exhibition poster and installation views of A Poetico-Ethical Journey: the Black-Throated Diver and Adagny the Beautiful Little Swedish Girl in White and ..., Platform China Contemporary Art Institute, Beijing, 2008
STRATEGIES OF INSTITUTIONAL CRITIQUE AND RELATIONAL AESTHETICS
CRITICAL/NEGATIVE (THEATRUM MUNDI)
Day Neon Light, Always Already Mediated
wood supports, day-glo neon lights, variable size, 2005
The work is an installation of Day-Glo neon lights situated in a natural setting (in this instance in a wooded area in Canada) to be experienced at night. It engages with the duality nature/technology, natural/artificial. Technological and cultural artifacts mediate our views of what might be considered as "the real" in the most pervasive ways, even on an experiential level. Our perceptions are always necessarily through language, culture and technology.
This statement is from 2005. In a sense I now disagree with the last sentence (and as such with the initial motivation for the work) in that it is reductive: some of our perceptions are certainly mediated by language, culture and technology, but there is an entirely different realm of experience, of visions as opposed to perceptions, that is unmediated by such realms. The sensation which gives rise to a perception is not defined by language, culture and technology, it is defined by its own onto-genesis, in other words by Life, a realm that can be said to be experienced through visions or sensations (and not perceptions).
The sensation is perhaps given rise to by this work through the incapacity of differentiating between the natural and the artificial on an experiential level. All is natural, nothing is artificial, even atomic bombs. All is artificial, nothing is natural, even flowers. Both simultaneously are the point of view from and onto Life.
video projection (no sound), 10min16sec, 2005
The work is a video to be projected in a small and dark space, forcing viewers to stand close to each other. Projected are the subtitles from a scene of the film Persona by Ingmar Bergman. The subtitles, and correlatively the narrative development, are interrupted by the projections an image of white light which operates as light projectors facing the audience. The work engages with the dialectic between the viewer’s "absorption" by a narrative and the physicality and sociality of the space where a narrative is encountered. Brechtian tactics of viewer activation; emphasis of narrative "absorption" through a narration that is sexual in nature versus the physicality, in this instance the sensuality, of the space of reception hors-fiction, hors-narration.
Open-Ended Relational Institutional Critique Experiment - Winchester School of Art, UK
people, laser prints, tape, pens, , variable size/variable duration, 2006
A photograph of individual staff members from the establishment where the work is installed is fixed to one or many walls. To each photograph is attached a white sheet of . Viewers directly relating to the establishment (in this instance staff members and students) are invited to write comments. The work was an investigation in, and experimentation with faceless entities such as institutions, companies, etc.; institutional critique on an inter-subjective level; and viewer responsibility. Issues with and raised by this work led me to being forced to remove the work after two days, ten days before the end of the exhibition.
Social Drift, Negotiated Walk #7 - Granby, Quebec, Canada
People, 5 Inkjet prints, 30 x 30 cm each, 2005
The participants perform a walk with no predetermined length of time, direction or purpose. The objective of the work is to create pointless journeys where people have to interact with each other to take decisions in order to determine the path they will take - whilst being forced to adhere to cultural and social patterns: architectures, landscapes, the subjects’ inter-relational power positions, etc. It aims to open a space of negotiations for the performance of a pointless journey.
MINIMAL INTERVENTIONS, 2005-2006
The following works exemplify a series of what I term minimal interventions that are documented with photographs of standard consumer size, 10 x 15 cm.
Failed Attempt at Constructing and Inhabiting an Igloo (Igloo, Final Moments, Mild Frostbites on Face)
As with the work To Dig The Earth, 2011, and the Paper-Plane-Paper-... series works, 2011-on going, in my performances I appear to be interested in pushing an activity that I used to perform when I was a child to the limits in accordance to my own physical capacities as an adult. To dig a whole to perhaps find a treasure, to study minerals, or perhaps to reach China which was then considered to be the antipode of where I grew up; the longest and most beautiful plane flight; to build and live in an igloo... This relationship to childhood is interesting to me, but it is not the motivation for the works, especially the more recent ones.
This older work is centered on failure, ethnic craft and knowledge, and also of more concern to my recent work, processes of territorialization and modes of life.
Torch Held in Front of The Sun
A small torch is placed in front of the sun and photographed. The work, through the simplest of gesture, "articulates" nature as a set, a theatre. Direct links can be established with Day Neon Light, Always Already Mediated, a work which by being experiential does not "articulates" and is as such all the more potent.
Daily Documentation of Traces Made in an Attempt to Produce a Work of Art, Day 9
Fading traces, memories, material imprints in the universe of our actions in the attempt to create, to perform extraordinary movements, to bring the future into existence.
All begins Outside, incessantly
All incessantly begins Outside, an Outside at an immeasurable distance, yet an Outside inside which we bathe, and as such very near, an Outside within man and the world.
The "I" begin Outside, and "I" arrive in my body, in my brain, and in my "I", incessantly, at every instant.
I am not here in nature, but there, Outside. Yet, through my incessant arrival, I am here.
If we think of the here, nature, as a theater, as an imagination, as a dream, we already relate nature to the Outside. To think or "aestheticize" nature as a dream, and to seek to awake ourselves. To "aestheticize" our views of nature as a theater, and to strive for the vision of a behind the scenes. This is, however, I believe, a bad way to pose the problem of nature-Outside, (living or lived)-Life.
Seeking and being fascinated by a potential awakening "inside" the Outside, an awakening Outside (when nature is posited/thought/aestheticized as dream).. No. The dream is already Outside, it begins Outside, it is inseparable from the Outside, it is from and through the Outside that one dreams, and in that sense one does not dream at all, one is awake, one is already Outside and awake.
There would be four attitudes/characters/modes fo existence within an "aesthetics" of nature-Outside, whether nature is thought of as dream, theatre, etc..
Dream.. I dream without being aware of it.. the happy idiot.
Dream awareness.. I dream and I am aware that I dream.. the fascinated contemplator.
To seek awakening (to find the Outside).. the unhappy actor, imprisoned inside a problem badly set.
To be awake.. "I" am Outside, awoken, and I look directly at the Outside but only perceive, like all others, a nature. And in my awoken state, I also See, I See the Outside from different perspectives.. the awoken man is Active, andin position to Act.
Better to be happy, or fascinated, than unhappy. What "I" really want though is to be awoken, to See, to be Active, to Act. "We" are all Outside, but the awoken man is the only one to experience it, the only one to live the Outside, to live Life, and therefore the only one to be able to Act with and through it. Through the man in position to Act the dualistic "aesthetics" of nature-Outside disappear: there is no longer a dream but only the Outside, only Life, only one Movement for our tamed nature and a wild and powerful Outside, a unity emerges in the Awoken, Active, Man.
Behind your thoughts and feelings, my brother, there stands a mighty ruler, an unknown sage –whose name is self. In your body he dwells; he is your body.
Your self laughs at your ego and at its bold leaps. “What are these leaps and flights of thought to me?” it says to itself. “A detour to my end – to my goal. I am the leading strings of the ego and the prompter of its ideas.”
“My ego is something that shall be overcome: my ego is to me the great contempt of man"
Now I am light, now I fly, now I see myself beneath myself, now a god dances through me.
Thus spoke Zarathustra.
Derrière tes sentiments et tes pensées, mon frère, se tient un maître plus puisant, impérial, un sage inconnu – il s’appelle soi. Il habite ton corps, il est ton corps.
Ton soi rit de ton moi et de ses cabrioles. « Que me sont ces bonds et ces vols de la pensée ? dit-il. Un détour vers mon but. Je suis la lisière du moi et le souffleur de ses idées. »
« Mon moi est quelque chose qui doit être surmonté : mon moi, c’est mon grand mépris des hommes. »
Maintenant je suis léger, maintenant je vole, maintenant je me vois au-dessous de moi, maintenant un dieu danse en moi.
Ainsi parlait Zarathoustra
An art of the future
Nietzsche built a philosophy of the future: What would be an art of the future, a future-oriented art, “un art au future”?
An art of the future would already mean an art neither of the past nor of the present, excluding an huge number of art practices, so much so that one wonders what such art can be, and if we have ever seen a work encompassed by it. Perhaps all great art has always belonged to an art of the future.
An art of the future excludes :
an art nostalgic of the past in its content and its form (re-appropriation of subjects, mediums and modes of artistic practices that perhaps seemed to have had potential in the past).
an art based on the history of art, by referring or using it as a milieu, especially if it is to criticize it, to reject it.
an art which deals with perceptions, affections and opinions of the present, or memories of perceptions, affections and opinions of the past.
an art that is "issue-based"...
a critical art, since it can only criticize the present or the past (negative critique) - an art of the future operates the highest critic, but by being affirmative).
a political art, democratic or antagonistic to democracy, since it engages with the present.
a participatory or relational art, where the work is a participation in the present.
So on and so forth, one must be vigilant.
And still, an art of the future is not about a specific future, it is not explicitly utopian, nor is it even science fiction. One must be very vigilant.
An art of the future calls for a people and a world to come, without defining or representing this people and this world.
The call comes from an outside, from the Outside, an outside immanent to nature, like a scream, or a whisper.. "Come! Live!".
It is the Outside itself which calls, it is the Outside through the artwork. It is not a God, it is an Immanence-Outside-Nature, because the Outside is not transcendent (to nature) but pure Immanence, and Nature because nature is that which one usually perceives of the Immanence in which we necessarily bathe, nature is that which we usually perceive of the Outside inside which we exist.
The call comes from the Outside, but since we already are Outside and look directly at it but ordinarily “only” perceive nature, the call seems to come from the middle of nature - how could it be otherwise since the Outside does not transcend nature? The call seems to come from nature, yet it also seems to come from elsewhere - as if one asks oneself: what depth screams through this bird I hear? - and it arrives in the present, yet it appears to come from the future, since it summons us towards the future.
An art of the future is not abstract, this would be the re-appropriation of a past potential, because the Outside is not itself abstract, abstraction having deep ties with the transcendent. Above all, an art of the future is not purely formal or plastic novelties (we do not understand well the use of new media when we merely want the new) that we too often fetishize.
The Outside calls us and the whole of nature all the time. When we do not hear it, it's because we do not pay attention.
The Outside never calls only myself. The call is not directed towards me but towards a “we”. He calls us towards the advent of a new people. And yet this "us" is never reduced to humans, it is as wide as the whole of nature. The scream, the whisper, calls me, inasmuch as it calls us and that in the same cry it calls all trees, bears, rocks, and suns. It calls for a new world to come.
An art of the future materializes, tunes, amplifies this call of the Outside - that nonetheless independently already exists, and that by this very fact multiplies its voices and resonates differently in the middle of our nature.
Outside and Future
What is the relationship between Outside and future?
The Outside is present, necessarily, because it does not transcend it, so it is present - in terms of temporality and in terms of presence or spatiality - Il est présent et sous-tend l'espace. Nature, the "here" in the present, is what we can ordinarily perceive of the Outside inside which we live.
The Outside is the recuperation of the present that incessantly passes, and as such the sum of all past, the Outside is therefore past, in its accumulation.
The Outside is future, the forces of the future, because it is the Outside that incessantly calls us towards the future and brings it into existence, ad infinitum. The Outside is not the future, in other words what nature will be, it is the ontological and genetic conditions of the future. The Outside is a future to come, a future forever to come, because it will forever call us towards and bring about the future.
But the Outside, a future forever to come (à venir), is also a future (un avenir), because the establishment of a unity with the Outside is the future of man. Here resides the complexity of a relationship between the Outside and a notion of utopia.
What is an artist of the future?
The artist of the future is a philosophical concept, but above all a man or a woman.
He or she seems strange because he seems to be elsewhere than in our nature. His eyes are deep.. facing us, it is as if he looks at this elsewhere where he stands, but which we do not see. His gaze pierces us, he sees through himself and through us.. the black of his pupils, the Outside. He seems to return from this elsewhere, arriving here as returning from a faraway outside.
He is eager to leave again. He is probably already there, and he would like to be left alone for a while. He has little time, and when he has some he is tired. But he's lonely.
He is necessarily here, in our nature, in the present. But he is also elsewhere, and this elsewhere has an aspect that is as much spatial as temporal. He is in our nature, but also Outside, and he is (in the) present, but also already (in the) future. It is only from there that he can accomplish his task.
Like him, his works seem strange because although being of nature and of the present - his work always address nature in the present - they also seem to be signals from the Outside and the future, sent by the artist who calls us to join him, in nature but as if elsewhere, in the present but as if in the future.
It is as much he who calls us as the Outside with which he has established an unity that calls the whole of nature.
His task is to capture, tune and amplify the call of the Outside, of the future, by the means he develops, it is as such that he his Active, that he Acts, in his awoken state, Outside, in a future forever to come, whilst most, and often also himself, sleep and react, here in nature in the present.
Both feet and his head Outside, he Sees. He gains a new eye that is not subjected to, and that does not give to see, the optical space - nature - and the present that passes. He sees different events from different perspectives, depending on where he turns his attention, depending on where he directs or uses the new Eye he has gained.
He sees this nature and the continuously passing present correlated to our ordinary perceptions, but he sees it as an emergence from the Outside where he finds himself, as if this space and this present actualizes itself through his eyes. He apprehends the relationship between his ordinary points of views on nature and their genesis, that is to say their emergence from the Outside. These could be called hallucinations, provided that it is nature that appears to be hallucinated.
His attention changes focus, his new eye looks in another direction, he has a new perspective. He sees the Outside, inasmuch as he see it inseparably from nature. It would be different than seeing nature in its relation of emergence with the Outside. He sees mixtures of unformed matter and he sees the fission or split of time in the accumulation of the past that preserves itself and the present that passes as the incessant actualization of what was possible futures. He has a perspective from and on the a-spatial and the a-temporal that underlies and conditions the nature that usually sees. Nature being perspective or point of view on the Outside (we are in and look at the Outside but ordinarily only see nature), now nature opens itself onto itself and as such onto the Outside. These could be called visions.
His eye gazes in yet again a new direction. He sees possible futures, because from his perspective nothing is predetermined. At any moment he sees almost an infinity of possibilities for nature. This makes his interaction with the environment, people and his own presence difficult, because at any moment he is surprised that nature has emerged as such. At every instant he sees possible futures or science-fictions, from which nature and the present, as the actualization of one such possibility, cannot be differentiated. These could be called the views of possible futures.
By what he sees, the artist of the future already Acts, he already is active, because he is already involved in the action of the Outside, in its actualization or genesis. And he Acts in the creation of his works that give to experience the hallucinations, visions and views of possible futures he has, works which amplify the call of the Outside and induces a movement.
He also Acts in another way, because from where he stands, Outside, he performs certain movements that in nature would be inaccessible to him. And although Outside, he still is in nature, how could it be otherwise? Through the establishment of a unity with the Outside not only did he gain a new eye, an Eye, but he also gained Legs, Hands, a Spine, which allow for unprecedented movements which from a perspective of nature often seem strange. These movements are seen in nature because this is where they necessarily take place, but guided by his Eye, with his new Body, he travels incredible distances and times that can only be rendered by coordinates that have become cosmic and absolute. These could be called actions.
He is Outside, in position to Act, and he Acts.
This is for him a mode of life, a mode of existence. And it is incredibly simple: the Outside, what he Sees and the Actions he performs.
This is already implicit in all his works, but sometimes, from the Outside, with his new Eye, the artist of the future returns himself and looks at us, and we see and feel that he invites us to join him, Outside, in a future forever to come, even if the work has five years, a hundred years or ten thousand years. It is also as such that an art of the future is timeless: past-present-future.
Mode of life, future myth
Why one or all the works by the artist of the future appear to us as the expression of a mode of life, which itself appears to be a myth?
The mode of life of the artist of the future is neither to be a painter, nor a photographer, nor is it to perform, whether he does one or many of these things. Mediums are second, he uses them as apparatus of capture and transmission. His mode of life is neither to be an artist, which means nothing.
Beyond mediums, the artist only does one thing, and one understands that it involves and consumes his life entirely, at best. His mode of life is to be Outside and to Act, amplifying the call of the Outside where he lives.
His life, his mode of life, appears to us as a myth.
One definition of myth: a traditional or legendary story, usually that of a being, a hero or an event, with or without basis of facts or natural explanation, especially one concerning divinities or demi-Gods and that explains a practice, a rite, or a phenomenon of nature.
Not a myth from the past to explain the present - typical understanding of myth - but a myth of the future! “Un myth au futur!”. Through and in-between his works develops the narration of a life, of an active mode of life which by incarnating the future of man in the present appears to us, who live ordinary reactive lives, as a myth.
Necessarily in nature and in the present, he is Outside and in the future, a future forever to come. The unity with the Outside accomplished here in the present, in other words the future of man already realized here in nature in the present, is what appears mythical to us.
Not to believe in myths, to believe in this world. To believe in this world would firstly to be surprised that it exists as such , to be amazed by our bodies, by all bodies.. "My hands! I cannot believe it!" The world, nature at present, bodies, as science-fictions.. a first step to believe in the world.
If one believes in this world, the mode of life of the artist of the future appear less as a myth, because one has already joined him. The call of the Outside that he amplifies no longer seems to come from elsewhere, an elsewhere further than any distance, and from the future, but right next to us, or through us already Outside, like a secret we already knew.
An artist of the future embodies a mode of life from the Outside and the future, a mode of life incarnated in nature in the present, and also the future of humanity. That is why the great men and women of the past are still now of the future - au futur, and that one can speak of timeless works, because the best works still, and will forever, call us towards the future, a future forever to come.
Neither the historical, nor the social, nor the political, but the ontological, the nature of being. This appears to me as the most urgent task and needed work, because the ontological is nothing other than life.
There is a wild and powerful life, a non-organic life that transverses all and that yet exceeds our ordinary experiences. This ordinarily hidden life, or Life, conditions our experiences and in that sense ordinarily exceeds them, it is through Life that we experience the universe. It is as such our life, our individual lives, it lives through us and we live through it, but we do not ordinarily experience or live, through our relative thresholds of perpcetion, its absoluteness. Our ordinary experiences are anthropomorphic and consequently tamed points of view from and on this wild and powerful Life. Even the most advanced measurements of science are tamed points of view on Life, on this plane of immanence inside which we bath and which bathes inside us, on this transcendental field radically decentred from humans: ‘the impression of a fictive, foreign world, seen by other creatures, but also the presentiment that this world is already ours, and those creatures, ourselves’ Gilles Deleuze
Commitment to Life: Thinking Beyond Gilles Deleuze and Félix Guattari’s Conceptualization of Art
My PhD thesis, Commitment to Life: Thinking Beyond Gilles Deleuze and Félix Guattari’s Conceptualization of Art, is soon to be published in some form or another. In the meantime, following is the abstract:
Commitment to Life... takes as its point of departure Gilles Deleuze and Félix Guattari’s conceptualization of art. Art for them is the expression of Life in the living. Life is the ontological and genetic condition of that which we are and ordinarily experience, it is the vital and material transcendental plane of immanence which characterizes Deleuze and Guattari’s ontology. Their conceptualization of art, however, sits uncomfortably with contemporary art in rejecting conceptual and photographic practices, and in its radical rejection of human experience. The aim of this thesis is to expand their conceptualization of art whilst remaining close to what is argued to be its core or essence: a commitment to Life. This thesis explores three paradigms of commitment to Life that move beyond the paradigm of Life in the living. These paradigms are developed through the application of concepts developed by Deleuze and Guattari to contemporary mediums and artworks, with the aim of broadening the relevance of their philosophy for contemporary artistic practices. Deleuze and Guattari’s aesthetics is analyzed and expanded through an engagement with works by Francis Bacon, Thomas Struth, Pierre Huyghe, Francis Alÿs and Peter Doig. By finding a commonality between these artists in their commitment to Life, this thesis hopes to develop a conceptualization of art which allows us to understand how contemporary art practices engage with Life, the infinite inside which we live and which lives inside us.
Opened Rain Series
These photographs of rain are captured at night with powerful camera flashes from diverse locations around the world.
Rain is an atmosphere, it surrounds us, it is a realm we (occasionally) live in. We most often react to it, we run away from it, we take cover, we protect ourselves, as well as in shelters rain has the effect of enclosing us inside our very own bodies. I do not react to rain, I act with it. I do not blink, I open rain. I do not walk in Montreal, on a night of June, at 23h12m42sec, I walk in opened rain.
The drops are dematerialized into color fields, a sensory map of the physical properties of that precise configuration of matter at this exact moment in time.
The photographs do not result from the capture of pre-determined points of views: the resulting images only come into existence through the act and at the moment of capture, itself (evidently) in coincidence with the moment of actualization of the universe from/through Life. This is emphasized by the Opened Rain Series but it is true of all photographs, it is true of the ontology of the photograph and of the nature of perception in general, including human perception. The eye of the camera (or of man) is not in nature capturing pre-determined points of views on nature, it is in the Outside looking at this Outside at the very moment of its actualization as nature, nature being that which the eye can perceive of the Outside following its own capacities or threshold of perception.
Explicit in the works from the Opened Rain Series is the coincidence and inseparability between the eye and nature. The eye produces, it produces its nature, a nature which expresses the eye’s threshold of perception of Life.
The series is open-ended and infinite in correlation to the open-ended and infinite, incessant re-actualization of the universe. The series embodies an infinite repetition where each photograph is necessarily unique: the material embodiment of the series is never the repetition of the same but always the repetition of difference, each photographs being developed/printed only once. The incessant difference of the accident, not of an accident in nature but of the accident of nature: its emergence from and through the Outside.
The sensation, the emotion generated by the field of shapes and colours in its relation to the specific time and place to which this field pertains. There is a dislocation between that which is sensed and that which is known through the titling: this is Montreal, this is a night of June, this is 23h12m42sec. Explicit in the experience of the work is the non-correspondence between sensation and language, between emotion and knowledge.