Note Of Intention
Maximilian Hüller & Etienne Tombeux
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 (the
seven deadly sins) 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 (gluttony),
more or less (wrath), or completely degraded (sloth), or artificial (pride). 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