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flesh, wood, stone

The story thus more "easily" understandable at first sight only. All stories are slanted, as suggested by the story 21 (photographer's face not pictured, leaving room open for a face monkey, plant, the disdainful look, which sets off right there and then the oblique plane maritime air, falling into the blue sea, spell this word as you see fit).

This means that do not like self-portrait is also, as the story 62 : hieratic and in action, place (or side) of simian face, echoing the story 33. The photographer is a monkey, the act of photographing is a monkey (obstinacy laugh, the subject slips away, turned back, despises the rapacious eye).

Hieratic and action, thus: "living statue" of the twenty-seventh story - it's disturbing that, what So there is to see? What then is told? The statue does not live, it is well known. But it pastes the photographer's face, and it scrambles them. Pétrée death would have won? The mineral (although based is true, although based) as a meter. Or rather, as an intermediate-or, if preferred, this disturbing state which obeys the quantum uncertainty principle. It is there and away, and frozen in action, somewhere between the top and bottom, both under a landslide. Fall. Stolen. Because the viewer can look good, it will not find the artist, perhaps decoys, masks, clowns (Plastic, three in number), so many false leads, such as disturbing the mating face of flesh and stone face, one would normally be the model of the other, but I believe that the photographer wants say otherwise.

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Inside / Outside

Curious 01 story that does in one photograph, errant story (what before? What next? frame gap). There is the text of the panel, emphasized by the title. This is a constant throughout the device: one injection of words in the senior (titles) to the frame ("landslide", and later the "oulement" of the cliff 100 story, "e" of 36 story , "personal access" the story 9 , etc: meaning flows from the inside out, from the outside inward, toward the dizzying, obsessive, part vampire photographic).

Kamehasutra Chichi Trunk

"But life always has a tinge of decomposition, to show that it arises from what is already dead." Walter Benjamin, One Way

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Praxiteles epoiephen

'I am beautiful, O mortal, as a dream stone ...'

Inauguration of Praxiteles exhibition at the Louvre last week, between cocktails and canapés, navigating between the statues and the Greek delegation, dominated by a huge priest dressed in black and topped with a curious cap sported round once in France, members of parliament royal.

More than a hundred pieces on display, and only two works may be original, not certainty. . But a wealth of Roman copies of the classical age, and more recent copies, executed in the Renaissance or even the 19th century.

Everywhere the languid air of detachment, serenity sensual riot of Apollo, Hermes, satyrs and bacchantes ... Very nice lighting, beautiful route between the statues.

a dream: to be locked one night and chatting all night, between Belphegor and Aphrodite ...