18 September 2010
Paris Acceleration 2, le 16 septembre
It’s pre-dawn, 6:11 a.m., and Orion hovers over the Seine. He eyes a lonely star hanging just left above the spire of Notre Dame. I awake having dreamed of deer descending steep slpoes towards swollen rivers; a man with a sled and hoist navigation device (like the models of rigs displayed at the Musée des Arts et Métiers) negotiates the rapids then edges along a rope bridge. The deer are spotted and rust-brown, and furry squirrels fly through the air as I seek a foothold and attempt to descend towards the bridge below.
Why wait for the sun to rise? My time here is too precious. I feel llke I’m being given a last moment on earth—in this lifetime—to pass over some bridge. Towards what?
With Paris Acceleration 2, I take another look at the third of three self-portraits shot in my front room last week against the white wall. My intention with each was to explore the pose, the transitions from one to the next, and a gradual reduction of the length of each pose to a point where the borders between pose and transition become obliterated in a flurry of motion. Using the screen like a canvas or silkscreen press, I attempt to paint or ink over the various panels, allowing them a life in time as well as within the space they occupy for increasingly shorter durations. Am I expressing a subconscious sense of being rushed, or pushed towards a brink---while exposed, undressed, and naked to the world? Or do I just enjoy the inevitability and rush of the ride, using the closest body available as studio model to fabricate my little movement machines? I thank Thollem McDonas again for his dynamic music. Click here.