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Películas nas que a cor, as formas, as texturas e os elementos gráficos dos materiais que usa Fontaine -desde as películas familiares que facía o seu pai, ata toda clase de filmes publicitarios, turísticos e educativos- crean composicións formais e cromáticas de complexa beleza que en certo xeito, como escribiu Yann Beauvois, funcionan como vitrais.
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Cécile Fontaine, born in the French overseas department of Réunion Island, gets the prodigy of materializing the most sublime plastic aspirations within a tiny film strip using the most humble domestic tools. With duct tape, various drug substances, scissors and punches, the most wonderful collages come to life. Movies (she has been making them since the 1980s, when she went to study to the Massachusetts College of Art) in which the color, shapes, textures and graphic elements of the materials used by Fontaine –from his father’s family films to all kinds of advertising, tourism and educational films– create formal and chromatic compositions of complex beauty that in a way, as Yann Beauvois wrote, work as stained glass. And in spite of the abstraction that means the use of found footage, the subject remains, in films that are in a sense like sticker albums of a parallel world. Often her titles are word games that mock about the main motif, iconic icing of every small universe they build. Here we have a panorama (in the nineteenth-century sense of the term) of Fontaine’s filmmaking.
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