We are subject to an unprecedented aggression in the "history of the body", never before have we received so many images and such focused sounds. So many signals that seek to fill us completely, depriving us in passing of the respite we need to notice it. This series brings the creation of a new moving and colourful space that pays homage to the "blur", synonymous of freedom, which our world, at the pace of "progress", is moving away from in favour of sharpness. Blur activates movement, it dynamizes and energizes the space to concretize a potential image. It is an invitation for the spectator to search and scrutinize and for me it is the opportunity to manipulate the image just as I feel it manipulates me on a day-to-day routine.
    Reality is animated by our beliefs, "We guess more than we see" and the same is true with photography, an image is not immutable and offers as many interpretations as the number of looks it receives. The data captured by a digital camera is processed by engineers to reproduce as objectively as possible what the human eye sees through the viewfinder when the shutter-release button is pressed. My objective differs, as an artist I have to show other perspectives of the world according to the same coherent vision of it, inaugurate its various complexities and make visible the invisible.
    Therefore I proceed by reverse engineering to illustrate my own interpretation of the data recorded by the camera's sensor that I manipulate according to my own rules thanks to an algorithm that I developed. The image I produce is thus no less composed of "real" than the one that appears on the screen of a camera because it uses no more and no less the same resources. Only the rule that governs their organization (here translated by my interpretation) differs. An algorithm that would be instructed to make red and green indistinguishable and to accentuate the contrasts would give a different result from what the human eye sees but not less real ; this example is about the shark's vision, optimized for an underwater environment.
    Finally, to preserve the aesthetic integrity of each image, this series is presented following a visual and chromatic accordance. In this way, I have chosen not to contextualize the arrangement of the images in order to avoid the conditioning of the visual "pareidolias" that offers the spectator the freedom to possess them through experimentation. Personally, I have often been surprised to see mountain landscapes or mythological figures, surrealistic, sometimes spooky. But always of a reassuring saturation. The choice of medium and format favours a distance from the viewer by adopting a posture more museum-like than "jack-of-all-trades" so as to enhance the controversial status of digital art.

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