samedi 2 juillet 2011

Continua.., work in progress

Extension du travail photographique réalisée en 2010 "fragment indéterminé, fragment indéfini" à l'invitation du studio civic friche, exploration d'un nouveau chapitre et focus sur une typologie urbaine émergente - metafriche.
Interventions, lectures, photographies.

Meta Friche projet et séjour de recherche été 2011 
Taubman College of Architecture +Urban Planning  
Université du Michigan.

Extraits de l'intervention photographique: 
Site / "continua #1", "continua #2"

Villa Noailles: série "continua #1"

Villa Noailles ©Marie Combes, 2011

Undetermined fragment, undefined fragment
“(…) The interval is not only defined by the specialisation of its two border-faces, perceptive and active. There is also the in-between. Affection is what occupies the interval, what just occupies it without filling it or obliterating it. It rises in the centre of the undetermined, that is to say in the subject, between a perception that can be disquieting, and a hesitant action. It is the coincidence of subject and object, or still the way in which the subject perceives itself, or rather tries and feels itself “from within”.” 
Image-movement. Gilles Deleuze 
The object of this work in diptychs on places is the relationship with the interval, the black band which divides two photographs on a film, and that sometimes stitches together fragment of space and time in the succession of images. The sequence of two images with the black interval is a visual space for reconstruction between the inside and the outside. This concept of architectural re-appropriation is here to offer an alternative to the rationale and process of dispossession. I have always dreamed of houses, of ruins, of movements in complex architectures, of hidden places and of their unfathomable depths. Together with the experience of infinite division, this concept, and its process of intimate and fictional linking, is also a reconquest.Why am I more affected by traces, fragments, by all that is undetermined? My perceptions, in the discovery of vestiges, are sensitive to the nakedness time has stripped to these places. These architectures are remnants of an urban myth, but they create something else, the infinite presence of time. There is in this confrontation with emotions a collision with interiority. This process of de-construction and re-construction operates a soulful metamorphosis, in which I find the essence of life, and of my life, without knowing how or why. 
Maybe the feeling that to persevere is to exist.

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