Peripheral
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Contemporary Art
motif of my work as an event and advent of metamorphosis. I also frequently use the diptych form for my video installations to evoke the figure of double as in Autofiction. In .WAV adapted from The Waves by Virginia Woolf, it is the stressful uncertainty of the narrator’s daily life that opens the way for a wider awareness: the characters he creates live in the space of his thought but also as characters claiming a proper existence: real and imaginary spaces get confused and interpenetrate. Toward them, toward their time, Pessoa and Woolf created poetic worlds to sublimate their distressing or disappointing daily experience. In my opinion, the loss of our certainties today can open the field of individual creativity. Virtual space can be a great exploration territory if we are in a quest for experimentation but it also has a great chance to become a simple formatted entertaining refuge and even a real trap if it promises to offer more compensation that the real world. The passively consumed virtual space is potentially a formidable tool for mass manipulation and alienation. If we allow our virtual “life extensions” to be realized at the expense of our real life, it is our humanity (our ability to feel and think) and our freedom that we risk losing. I think the virtual space contains the worst as well as the best: there is a great democratic challenge. In Camouflage self-portrait, at the end, the augmented identity gets out of its "employable" interchangeable condition to appropriate the public scene as a subject in the first person through the gesture of addressing the viewer. In my opinion, it is the detour (the crossing) through the dream, the imaginary, the virtual that allows to give force to our existence in the real. We daresay that a central idea that connects all of your works is the attempt to capture the elusive and multifaceted nature of the concept of reality, that you successful achieve by inviting the viewers to question their perceptual categories, to look
SPECIAL ISSUE
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