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+ MAY 2012 +  

... THROUGH THE SPECIFICITY OF DIGITAL TECHNOLOGY VISUAL FIELD IS MASSIVLY EXTENDING AND APPEARS TO BE MUCH EASIER TO ACCESS.  AS AN OUTCOME OF THIS ISSUE PERCEPTIONAL DIFFERENCE BETWEEN ANTIQUE RUIN AND IT’S PICTURE PRINTED ON SOME T-SHIRT OR POSTED ON YOUR FRIENDS FLIKR IS BECOMING RATHER BLURED, STRICTLY UNIMPORTANT. IN SPITE OF THAT, WE STILL CANNOT GET RID OF ANALOGUE AND MATERIAL SURROUNDINGS THAT EASY, BECAUSE WE NEED HOUSES TO LIVE IN, TABLE- WARE TO EAT FROM, DEVICES TO BRING LIGHT WATER AND WARMTH, ETC.  I UNDERSTAND THAT TRAVELLING IS ALMOST AS EASY ACCESSIBLE AS IMAGES, BUT MOST OF THE PEOPLE CANNOT BRING AN ANTIQUE COLUMN TO THEIR HOME, SO THEY CAN INTERACT WITH IT ONLY AS SPECTATORS.
 
MEANWHILE, ANTIQUE RUIN OR ANY OTHER ARTEFACT DAMAGED BY TIME IS BEWITCHING US NOT AS AN EXAMPLE OF COMLEX ROMAN FIGURATIVE CANON, BUT MOSTLY AS A SIMPLE EVIDENCE OF THE PAST. THIS EVIDENCE COULD BE DETAILED AND FORMAL OR ON THE CONTRARY DECORATIVE AND ABSTRACT, BUT WHAT IS MORE IMPORTANT, IT GIVES US THE ABILITY TO FEEL THE URGE OF TIME EVEN IF THE ANTIQUE WORLD STILL STAYS SEPARATED FROM US WITH THE HAZE OF NON-PARTICIPATION AND OBLIVION.
 
YOU CANNOT EXACTLY SAY THAT MONSIEUR LUNATIQUE’S WORKS ARE FIGURATIVE. YOU CAN SOMETIMES SEE A SOLAR SYMBOL OR A CROSS MODESTLY INTERWOVEN IN THE GENERAL FORM, BUT IT IS THE RIGHT BASIS OF VISUAL LANGUAGE. MONSIEUR LUNATIQUE IS CONSCIOUSLY IMPARTING PREMISE CHARACTERISTIC OF DEFORMATION BY TIME TO FUNCTIONAL, UTILITARIAN OBJECTS THEREFORE INSERTING US INTO FRACTURE OF THIS EXACT MOMENT INTO PARALYSED APOCALYPSE AND IMPETUOUS RESSURECTION…
+  M. WHIPPET  +