It’s been two decades since we’ve started navigating through the digital space and I now feel like escaping its invariable organisation to unfold new fields of vision. The necessity to do this was obvious to me as if, without any clarification, the constant covering of data in its continuous production made time thinner and space flatter, the result of an absolute immanence.
Diving into the digital space, going through its hermetic surface, moving around its milky, horizon-free substance with no vanishing point, creating fleeting, chaotic images. Blowing up its nomenclature.
For centuries, paintings have been our teachers, our windows to the world, and they remain the traditional visual process of our collective representations. With their frontal quality, they answer our need to face the world both physically and mentally, all the while referring to the vertical axis of the body.
Cheminée offers a reversed vision of the frames, a way out of the immediate to restore the depth, height and density of space, to reclaim the length of time.
This creation undermines perspective, it leads the gaze and body through layered images. It’s a reaction to the fact that stratification makes what’s underneath invisible.
Staging this core-sampling of time with its 3D possibility commits the bodily movement beyond the gaze. This redeployment works on the gap between the ways of representation that are possible within physical and digital spaces. It highlights how much the flattening of the digitised world crushes time, in a reductive immanentism and presentism.
