Asking these questions, to understand how today we still have a desire to create images, is about focusing on their composition :
Of light, frame, time and movement.
Looking at the image, going from the eye, the light, to be with it, and having time inscribe as cleared off of everything. With no pressure, without undergoing. With the body, which at this moment, would become as the proof of the transition to animated image.
Which would contain our desire and our withdrawal.
Now, image is animated, thus endowed with life, with it’s own autonomy and we have the opportunity to hear this body in the proximity of it’s respiration, of it’s breath. A proximity almost dilated by this breathing, and that would give sound the possibility to not just accompany the image, but also found, it also, an autonomy, by working these sounds as filters. Filters that would be linked to the body, and that would open it a new space.
The story could be, because there’s always a story, one of three bodies attempting to bring life back to their images, and the choices they then operate to invest the frame.
We had to use specific tools, specific rituals, invent some, to define the force of this engagement. Attempt to share a certain amazement encountered at the moviest. With no assumption. A dive.