Book Vous Ecrie Writing You

Book Description

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At the origin of this project, when the photo and the text were separated, and each one occupying its own space rather than being superposed, it was rather easy for the one or the other to take over obviously. They created two bands: the visual one and the literary one, our attention could see them in dissociation and reason could make a choice or a quasi-immediate spontaneous selection in interpreting the work.

The superposition of the photo and the text may not seem to be a major transformation; however it is rather efficient, for, it is from the evolution of the work towards this form where the two occupy the same space and where each of the photo and the text evades, that the image emerges – a visual image, a textual image, simply and entirely an image. In this image it is possible not to catch what ‘impresses’ us first, such as part of the photo or a specific single word, we may also not notice how one of the two is influencing us while in that same time we are being very attentive to the other.

At the beginning every image of writing you (Vous écrire) existed separately taking all its space – and we could also say – taking all its time exactly as we take our time, feeling, although wrongly, that nothing is pressing, nothing is constraining, as if the duration seems to stretch while our perception has had just the time to arrange deadlines at an indefinite number of plans. When we penetrate the sphere where it becomes necessary to reshuffle the usual organization of time, by doing so, we can unfold and dwell in it in a different way.

It is through a singular and personal initiative that a slow process, insisting with its repetitive forms, took place projecting the person at the reception end to a mental or affective image that is still wide. I find in these images a form of imprecision – hence a kind of vulnerability – in as much as they were not overdone or wrapped with clear endings, since the artist has let them follow their uncertain becoming. In this process the images allowed for the encounter of the sensitivity of two persons. It is a successful attempt at staying close to one self as much as staying close to the person to whom these specific images are addressed or to the many persons who feel concerned.

The artist is offering a glance about herself, mixing elements from memories, from concerns and from the imaginary. The recurrent images of the body of Sirine Fattouh, who looks back to you, as you stare at her, and brings us to face specific parts of the body, create a sensation of direct relation and proximity with her and raise the question of expectation our waiting and above all her own waiting. With each image, something imperative comes out of this body, a drama in a theatrical way. One has the feeling that right here and now, immediately an action could take place, incarnate – thus fictive – and one of its multiple anchorages points lies precisely in this twinning of the text and the photograph.

This publication, the images who present themselves linked together materially and symbolically, create a new relation to a new relation to time. Working out in a different way the meaning distilled in every image.

Facing each image alone withdraws, while a more historical reading from image to image takes over. A feeling like weaving becomes strong. To weave a big image which could include a number of persons, a number of facets, which could include us and give us different roles.

To go and come is possible without being constrained by expectation or guided as may be the case, as usual, in the meaning of a "visit" – no matter how implicit – to an exhibition.

Images with a brief text and small sentences that come out of an intimate statement stir a vivid emotion, allow us to glide easily towards the impersonal and drift away from the artist to come closer to a more common familiar feeling.

While the text that has more detailed sentences and who brings us to the heart of a specific moment where Sirine Fattouh recalls many of her memories, hold more strongly the feeling of the intimate and the subjective. This is where we ask ourselves about that other part, still in the dark, of a history that seems to unveil.

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