There is a famous etching by Albrecht D\u00fcrer that represents the beginning of perspective drawing. It\u2019s a strange image: a sensuous woman is depicted lying on a table behind a grid; facing her on the other side is a man attempting to reproduce what he sees on a surface in front of him, using the grid as a reference system to pinpoint, to measure, to see. Although the woman is caught and fixed by the grid, she will never be entirely contained. Her depths, durations, experiences, thoughts cannot be flattened. She just doesn\u2019t fit.<\/p>\n\n\n\n
In \u00eatre promen\u00e9e par<\/em> the three figures (the woman, the grid and the observer) are considered as a system. This system contains, controls and limits but also falls short: when looking at all three figures together our gaze travels between what is captured and what exceeds, and both are present. Between the fixed and the fleeting, between geometry and breath, an oscillating line can be drawn made of contrasts and shifts. Through repetition, going back and forth, this line becomes thicker and thicker, somewhat like a field. The field doesn\u2019t aim to capture what exceeds but is a ground to grow away from.<\/p>\n\n\n\n \u00eatre promen\u00e9e par<\/em> is an attempt to grow a field.<\/p>\n","protected":false},"featured_media":2696,"template":"","class_list":["post-1843","residencies","type-residencies","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\n