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The letters in the picture

It is a tenuous network that I like: one that deploys literary guilds. I enjoy finding Jean de La Fontaine in the story 34 , "The Cat and the pigeon" on unresolved legal foot-dragging in the volatile La Rochefoucauld in the title story 40, where the penetration of the spirit embodied in a cat who humorously gets through a gap; Antonio Machado in the story 67 (ojo that ves / ojo no es porque lo CEAS / es ojo porque te ve "," The eye you see / is not added because you see / it is added because he sees you "), Jorge Luis Borges in the title story 37 (" Fervor de Buenos Aires "), Blaise Cendrars's" Prose of the Transsiberian and the little Jehanne of France ", which is thought to account 73; Deleuze for 71 story. And the ones I missed because they were moving too ...

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Ubiquity

Inventory: I am trying to exhaust where it has drawn, in the magic of ubiquity: every place crushed. So

:

France, China, Argentina, Laos (the center is in two places, everywhere, nowhere), Uruguay, Russia, Bolivia,

South Atlantic, Lithuania, Poland, Peru, Gambia, Chile, Brazil, Austria, Cambodia ...

(and Laos is a reminder that there is no single place, or rather the site is unique because the artist has trodden (the photo of his foot back as a discreet reminder of his status as a walker) he united them in a series of "stories").

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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).