ABSTRACT

A black crack on a gray floor or wall. Does it draw a sun? A balloon that lets its thread hang? A sun that hangs by a thread? We Does it lead into Descartes' stove? Or into the dark fault that nestles at the heart of the images? ABSTRACT: a summary, but also an abstraction. Isn't the abstraction of the image a way of making its structure appear? hidden, the one that regulates its composition, the secret geometric arrangement of what is given to us to see? To abstract is to aim at the concept, or rather, here, the idea by shaking the screen. To abstract is to subtract, or to make appear what is subtracted, implicit in the image. The frame, which implies but also makes us forget what overflows it, because the perspective, immanent in photography, implies it as Panofsky had shown for the painting; black and white which magnifies the colors by absenting them; 4 the deafening silence of the images. But by disfiguring the photograph, Olivier Doesn't Degen point out to us what blinds us in the image in order to try to to show us what the screen of forms where we identify ourselves, where we let us lodge, makes invisible. The gaze is what is missing from what we see, it is why, no doubt, I look so as not to see it. To abstract is also extract. Indeed, strictly speaking, these are not photographs abstract as there are, but of transitions, of images abstracting themselves like when twilight or the slow closing of the eyes steals them from us. The image she then grasps the silence that unfolds tirelessly in the flow of the time, the moment that the movement masks? Does it not orient us, by a wink, thwarting the timeless fixation of what is absolutely ephemeral, towards that which is beyond appearance and which stands in the silence, unspeakable? Or is it a myopic view in the dark that makes disturbing images such as the hypothetical astigmatism of El Greco in his time ? Or, suppose, an image that the photographer would have us believe too unintentional as Portia's slip of the tongue which had not escaped Freud, a support as if something unexpected happened on the trigger, a film that we had not wound up, a missed act by the photographer who would succeed in capturing what is not seen, what that the cliché must usually erase. In this case, is it, by presenting these images, which would seem to be rejects, to contest. Alain Vanier -Psychoanalysis