“Using my video kinetic sculptures, I develop closed-circuit observation cameras along slow hypocycloidal revolutions. In this way, I try to renew the perception we have of ourselves, of others and of the environment around us, to reveal its strangeness and depth: the cosmos in which we are.

This video kinetic installation is the result of a strategy of appropriation of video surveillance. I seek to divert the effect that this authorless image causes in us: to experiment with the plastic potential of this visual surface, whose dullness and neutrality constitute its own character. I propose to see, in the growing omnipresence of the image resulting from video surveillance, not a police and paranoid fatality at work, but rather an opportunity, through the daily experience we have of it, to see in the anonymous and undifferentiated reflection it gives us, the immanence of the reality of our existence. Between fascination and fear, there would be a reactionary kinship in the face of the sudden and intrusive emergence of this new image in our lives, similar in my opinion to that experienced in 1839 before the first daguerreotypes: both offering their contemporaries a strangely raw and literal representation of reality.

I propose here an experience of visuality where immediate and mediated perception are combined, the spectator and the exhibition space becoming the object and subject of a singular mise en abyme.
I approach video and photography as a sculptor. I perceive the image as the result of a radiation by which shapes, things and bodies extend beyond their contours into space until they reach the hole in the eye and the camera sensor. What I am trying to sculpt is no longer the form itself, but the visible radiation that makes it appear to us, the irradiance of its visual substance: its image. »

P. Dufaux


Photos : Jocelyn Riendeau