In a year spent at Le Fresnoy, during which I had the privilege of accompanying the projects of eight young artists (and a few more), I attempted, by using my smartphone (iPhone SE) as a notebook, to reconstitute in 1000 images my first retinal shocks (those of my early childhood). These images are so many questions about what is said to be real, or rather what I’ve learnt with time and a certain difficulty to define as such. They are all rectangular and vertical, slightly enlarged to fill all the surface offered by the iPhone (screen shots) and are spread out over ten digital, fifty-five inch screens (100 images per screen).
Each image lasts 7.2 seconds, which, when added together, should spectators be crazy enough to want to see them all, would last as long as a feature film (two hours). In this jumble of images I didn’t search for any logic, meaning, narrative, markers of scale or temporality, but a series of raw screen shots (shapes, materials, colours, shadows and lights) taken in all kinds of circumstances, at night as in day, since November 2016.
A kind of sensitive, archaic and wild topography of the new-born.
Lastly, for the sake of authenticity, I deliberately limited my technical interventions (exposure, contrast, colour) to the application integrated into the iPhone + procam + afterlight occasionally (no Photoshop).