I like piles, and that is what I started doing in my studio.

Here are some*

 

        Mentos gums «Purefresh» in the good container (with the lid)

              Three dead bouquet of flowers that smells nothing                                                                Five books I haven’t read just yet  

                                                                         Scale

                                                                     Unreasonable

                                                                  The_curve_of_life_

                                                               Compress attention span

                                                          Mal du siècle (car ride sickness) 

Table                                                          

Bag of colorful beads   

Two empty cups of coffee

A piece of cool metal I found on the floor **

 

*This is not to be taken as hierarchic pilling, some words happen to be bigger and seems that they could visually support the smaller ones, no investigation of value here.

**This one is no more in my possession, as I was informed it belong to the elevator, which was struggling to do without it.

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Outside of the video is what supports it, first in direct contact the metal structure.

Each video is hold by a corresponding structure. Things in the studio have been allowed to move around, be subtracted and added over and over again. But the structures, due to their material rigidity stand still in the ambient migration. Inserting the video in such a dated technology was already a step toward pinning down something I assumed was “actual making”, the video. Not all objects are demanded to respond to the same conditions in order to be able to participate.  The videos convey an immediate message delivered in the unchangeable timeline, the DVD is has been burned and there is no scratching it away with your finger. 

Across and close is another monitor. The same sized TV playing another loop. And almost no time for the empty screen before the start. A croissant is growing or could it be us getting closer.  Those strips of colors again and this same forward movement. 

The croissant palette is made up of beautiful oranges, yellows and browns. Unlike the previous work, we start from an object stripped of ground and context. The first had a finitude to it, a capture of a world; where sets of "the real" have been realized. The croissant is unused, unreal, stands in space, a black background that when set in movement becomes the horizon. What you see here, I though it to be a land, what is simply a dedale of pixels, now resembles a formidable desert.

There is no slicing of the space; no crumbs on your chin, ‘fit[1]and fingers. We’re brought from the croissant to a vast landscape by loosing up the pixel net. And what if the future was in the infinitely small? What if we could see further than the microscope give us of nature? What if life on Mars was there in this you hold? Perhaps in this very crumb. And if we push it, why not in the vestige of the morsel of that crumb? If they are civilizations in our bodies; our first encounter with Extraterrestrial intelligence could be inside us. When is something too small as to being so remote that it would stop being considered as terrestrial?

 

[1]Shortening of the word Outfit

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croisant.JPG