NOTE OF INTENTION

The genesis lies in the relationship between two accustomed associates, working together on the realisation - on the basis of a script - of panoramic rotary photographs; a hybrid discipline between photography and cinematography. This is about sequence. One works with immobility, duration, development.

The evocation of the painting "in the form of a wheel" by Hieronymus Bosch (Todsündentisch) has opened a field of investigation exploding the linear structure of the story, its dramatic progress and leading back (through the evolution of several of these moments) to the Painting (which - as everyone knows - when it is good, efficient, is never immobile).

Revisiting the theme of the 7 deadly sins linked - for Bosch - to a unitary concept on the motive of life and death and for religious use, we must question and test again (doubt acts) this theme and what it entails in the matter of secular ethics (what do we see, what don't we see, what do we read, what do we interpret from this reality, and how do we perceive it?).

The modus operandi

Doubt acting, the drift is orientated listening to a certain chance. The modus operandi is organized by a poetics.
First of all, as Bosch did in his time, we use quite an iconographic arsenal but this merely constitutes a simple set of references and not works considered as models. From Bosch, we also maintained a certain popular aspect (and in these times the photographic support is well adapted to it). But, whereas Bosch practices moral edification (this painting must originally have been intended for religious use, and it remained that way) with popular everyday scenes treated as a parody, the Seven Panoptical Sins belong to the category of the parody. Whereas, with Bosch, the environment remains viable (and even natural, hospitable), in the Seven Panoptical Sins it is already somewhat (Völlerei), more or less (Zorn), or completely degraded (Trägheit), or artificial (Stolz). To go beyond this (framework), we have to make use of the science of the imaginary solutions, to Pataphysics. This implies that: if the visitor discovers in the image a link of signs, of references, of association of ideas, it is because the image contains them!

Each of these seven images feeds, not only within itself but with the six others, a spooring game (simple examples: look for the cross, the feather, the hand, the time that passes, the animals). Each of these seven circuses feeds on the others, the various images share and exchange "things". This is the fruit of a collective creative approach founding the "work in progress" which impregnates the whole and lends it its evolutionary character.

Indeed, the first rule of the pataphysical method is that there are no rules.

The input of each artist (i.e. all of the credits) taking part in the project, will make the flesh of the image. Many things are done on the set. We naturally arrive with a skeleton, but this only represents the outline. In that which is pre-established, there is a proposed place, a universe, its framework, its light, its history and its features. And all this can be modified on the set. The preparation is like a happening, it is very organic. Everyone is freer and thus more available to see to his or her creative part, thus favouring a sharing creative approach.