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Donc, ce qu'on voit en entrant immédiatement, c'est l'œil, un œil, qui semble un peu étrange, qui bouge, mais on n'est pas sûr, encore une fois, si c'est filmé dans la réalité ou s'il y a un traitement, un traitement d'image. C'est ce qu'on va découvrir en cours de route, mais pas immédiatement, tu sais?
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Well, we enter a room, and the room is in the dark, dark enough for us to discern the work, but not in a very clear way right away. I like the idea of discovering something, I like the idea of getting closer to the work, that the work calls us, and this where there is a need for darkness, I think, you know? So, what we immediately see when we come in is, an eye…an eye that seems a bit strange, that moves. We’re not sure, once again, if it’s being filmed in real time or if it’s an image treatment…an image treatment. That's what we’ll discover along the way, but not immediately, you know? For me, (défi masse) is ideally, it's an experience in letting go, and I insisting on the "letting". I think that first of all, what I tried to do in the “doigt fil de Méduse” is that the image looks at us, it stares at us, but that after, we are then caught. But after that, being caught, we get over it and there is a letting go, and then we feel like getting closer to it and getting to know it better.
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