Cliquetis, it’s the sound of masts clashing with the wind in fishing and leisure ports. The sound of the world, therefore, a maritime and terrestrial world trying to maintain balance. That’s why the formats rotate, tilt, and disrupt the sense of the horizon line. Verticality and horizontality revolve around each other in an infinite circular game. A circle representing the cycle of life of the earth’s elements.

The soundtrack of the video incorporates sounds from the marine environment (captured sound on a trawler in Brittany). In the background, a voice, a dialogue, remains inaudible. This dialogue suggests an exchange of fictional words.

Cliquetis du monde is an invitation to travel and contemplation.

This video project questions the meaning of things, of existence, of nature... It represents, this world, a world that can be fictional, real, distant, or in the making. A space where circles project aiming points that pierce, perforate, and damage the image. In the background, a world being built or deconstructed may be outlined. The video itself is made up of fragmented images from different territories. Indeed, it combines digital shots with hand-scratched analogue film. The image is therefore scratched, once again damaged, sometimes in a fixed shot, sometimes in motion. A textual language emerges, wavering, narrating a vision of the world. That of a narrator whose name is unknown. He is seen from behind, as the character painted in The Wanderer above the Sea of Fog by Caspar David Friedrich. For H. Gaßner, the romantic character, whose life is conceived as a journey, experiences «the uncertainty and abyss of his existence» and his anchoring in «a celestial world beyond the horizon.» It is therefore between contemplation and action that the project «Cliquetis du monde» plays with this duality, with this circular movement that never stops.

Breathe and participate in the multiple breaths of the elements around you. A cycle, a circle that come together, sometimes distance themselves to finally meet again.

Cliquetis, it’s the sound of masts clashing with the wind in fishing and leisure ports. The sound of the world, therefore, a maritime and terrestrial world trying to maintain balance. That’s why the formats rotate, tilt, and disrupt the sense of the horizon line. Verticality and horizontality revolve around each other in an infinite circular game. A circle representing the cycle of life of the earth’s elements. From what seems spared, unreal, distant, the landscape is perceived as a romantic would see it. It reveals itself in a strange stillness, a dull noise, it envelops the image with monochrome grains. Cliquetis du monde is an invitation to travel and contemplation. This work creates tension between fragmented photography and the materiality of painting. The fragmented image composes the canvas. It gives a sort of tempo, a rhythm, a sound on a painted background. Photography becomes material, and from this material, depth can emerge. Absence of human life, only the gesture of the photographer and the painter on the canvas. My gesture. The world as the sole viewpoint. The pictorial material breaks the frontality of the photographic image. It opens up different reading perspectives. This series questions the meaning of things, of existence, of nature... It represents, this world, a world that can be fictional, real, distant, or in the making. A space where circles project aiming points that pierce, perforate, and damage the image. In the background, a world being built or deconstructed may be outlined.