11Silent path nº1 (Asperity – Triptych), 2015

Acrylic- and oil 
paint over photograph mounted on 3 wood panels
172 x 300 cm

11Silent path nº1 (Asperity – Triptych), 2015

Acrylic- and oil 
paint over photograph mounted on 3 wood panels
172 x 300 cm

11Silent path nº1 (Asperity – Triptych), 2015

Acrylic- and oil 
paint over photograph mounted on 3 wood panels
172 x 300 cm

11Silent path nº1 (Asperity – Triptych), 2015

Acrylic- and oil 
paint over photograph mounted on 3 wood panels
172 x 300 cm

11Silent path nº1 (Asperity – Triptych), 2015

Acrylic- and oil 
paint over photograph mounted on 3 wood panels
172 x 300 cm

11Silent path nº1 (Asperity – Triptych), 2015

Acrylic- and oil 
paint over photograph mounted on 3 wood panels
172 x 300 cm

11Silent path nº1 (Asperity – Triptych), 2015

Acrylic- and oil 
paint over photograph mounted on 3 wood panels
172 x 300 cm

11Silent path nº1 (Asperity – Triptych), 2015

Acrylic- and oil 
paint over photograph mounted on 3 wood panels
172 x 300 cm

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Edge of Silence
Falaise – Haute-Normandie
Series of 5 color photographs
2013

Man-made and natural boundaries are one of the oldest forms of elementary structures that shape the basis of our social environments. Establishing a defined border is a statement and has a function. As a symbol of peace, a boundary sets limits and by doing so marks out an area where peaceful existence without argument is possible. It is fundamental in defining the inside / outside of a space and in demarcating peaceful terrain.

While in one respect the structure of the boundary acts as a sometime peacekeeper, its presence is also a matter of controversy. The division of space violates the harmony of unspoiled landscape grace and restricts free passage. From this continued controversy – the space/ place’s con- stant exposure and open resistance, defense and sometimes intrusion – a fee in the form of the adoption of object to the environment is made. This fee, which manifests itself in decay and deterioration over time, makes each boundary unique to its environment and can even turn the dividing structure into sculpture. It is here that a new and deeper aesthetic and meaning emerges.

Color photography, archival pigment print on cotton pape, signed and dated on verso, artist oak frame, single plates formats 108 x 178 cm and 121 x 76 cm, edition of 8 + 2 AP; Triptych 172 x 300 cm and 148 x 240 cm, edition of 8 + 2 AP

Les bordures du silence
Falaise – Haute-Normandie
Série de 5 photographies en couleur
2013

Les ceps de vigne dévoilent la face visible du temps,
travaillant de façon indélébile dans la texture naturelle du lieu.
Face aux forces de la nature, ils restent immobiles, impassibles. Pourtant leurs contorsions révèlent l’effort pour trouver leur forme unique et singulière. Comme des coups de pinceau de la calligraphie du temps dans le paysage naturel, ils ont traversé les années pour devenir ce qu’ils sont et offrir la récolte de leurs nobles fruits.

Avec leur bois et leurs veines organiques entrelacés et
rugueux, confrontés à toutes les saisons, années après années,
la question du temps qui taraude tant les humains semble leur demeurer inconnue. Ils créent l’abri pour protéger l’âme
d’un organisme fragile qui ne veut pas devenir ce que le Zeitgeist (l’esprit du temps) nous impose: l’interchangeabilité, l’aseptisation, le déracinement.
Les ceps ont défini silencieusement leur place et leur place, les a définis. Jörg Bräuer.

Photographie en couleur, tirage pigmentaire sur papier coton, signée et numérotée au verso, cadre noir en chêne, formats 108 x 178 cm et 121 x 76 cm, édition 8 + 2 AP; Triptych formats 172 x 300 cm, 148 x 240 cm, édition 8 + 2 AP