November night

sprawling

between two rows of lavender.

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1. World phenomenons are reality

2. Nothing happens but in mind

3. 1 & 2 are false

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Rain, drizzle, salty bath — sea and sun.

Washed by a mountain thunder, rime, radiation fog, hail, falling winds, dew spreading over the sleeping bag — muffled up in autumn night.

Moon drift.

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In my work, I am looking forward to straightening reality contact, immersion into climate. Keeping reminded that real, as fully expressed in its demonstration, could as well be a huge phantasmagoria, and even: world.

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" Polar night, 7 p.m. November ending. It has been a few days the road is covered by a yellowish icy trail. No cars but lights away. Three walking weeks for my legs, and twenty-five miles left to Husavik, the "housy bay" nested on a fjord, Greenland sea.

The weather is sunny: no wind, the sky is fully blue and stars are very clear. Sticks tinkle on ice, steps grating. Suddenly snow starts falling : there is still no cloud, nothing else as a deep clear blue. This is Iceland."

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Meteorology:

"Studies of the meteors - from the Greek word meteôros (μετέωρος): "which is in the air", to describe the particles suspended in the atmosphere, the heavenly phenomena."

Meteorological:

"Character of a phenomenon occurring in a short time on a specific area."

Climate:

"Defined by a series of meteorological events."

"Synthesis of weather conditions."

"All interactions between the atmosphere, surface water, cryosphere, lithosphere and biosphere of the Earth under the influence of sunlight."

"Weighting, sum of tensions".

"Ambiance".

"Region".

Zone determined by its location in relation to celestial bodies.

From the Greek klima (κλίμα): "inclination of heaven" to describe the tilt of the Earth relative to the Sun.

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A navigation: curves that unfold - volutes and vapours. A movement towards the unknown through which shines the face of the known.

A "being-fluid" logic - combustions and precipitations.

Climate is both "You are that" and "Become who you are" - become what you become, an incandescent experience.

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" Nothing comes back, nothing is repeated, because everything is real "

(Fernando Pessoa)

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These meteorological basis run as mist through the inconceivable thought of freedom, such as spread out from several Buddhism branches, where everything moves ("Forms are emptiness, and emptiness is forms", says Prajnâpâramitâ), flowing, almost this or that, up to the idea of unpermanence (its definition itself being unpermanent). Where the look, or the SEE props up the wide screen of reality, with its dynamic energy.

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Climate is what we bathe in, a hallucination.

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52. A form seen in the distance / is seen clearly by those who are close; / if a mirage was water / why those who are close can't see it?

53. The world is seen as real / by those who are distant; / those who find themselves closer / do not see it well but without signs, / like a mirage.

55. Anyone who has taken a mirage for water / and, having made on-site / realizes: "there is no water", / that one is a fool. "

(Nāgārjuna, traduit)

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NOTES:

1 - A text gradually discovers itself.

2 - The meaning of a text may mist up suddenly.

3 - Traduit = "translated" but also "to be translated". I.e. to appropriate, to incorporate - to transform. In the translation work there are losses or gains of energy due to travel, but not limited to: the author himself is sometimes responsible.

4 - Every work is meteorological.

5 - Every work has to be translated.

6 - ..... ..... . . . . . . . (in various configurations):

Points d'explosion (flash mark).

Points de vaporisation (vaporization mark).

7 - The "magnetic snows" are moving.

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Immersive installations, one night events, breathing spaces, photographs, walks, messages, each work proceeds from this translucent experience, carrying a bit of energy, like a short hail, a rain shower or a morning lighting.

A way to regain a freedom of movement: anywhere, anytime, unpredictable.

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A meteorological relation to the world induces spatio-temporal situations where energy can deploy: a combination of kairos (καιρός) and ma (間), a research overwhelmed by the experience, by the sky getting brighter beyond the intent.

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Travelling the world in search of sensitive areas where we hear the chira-chira of infinity. Creating open moving works for a mind pneumatization through which, by some energetic flows - waves and precipitations - as well as by reality entering into resonance, metamorphosis can happen.

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Flakes fall faster in white light.

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"She chooses the spatial principle of exposition against the logical principle of representation".

(Alain-Chareyre Méjan on Isa Barbier's atmospheric installations).

The world as will.

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Space for the artwork to be infused by the world (Niele Toroni).

Space, space, space (Richard Long).

............................................ (Fujiko Nakaya).

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Porous states (Christine Buignet).

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Hua Yen philosophy sees the universe as an extraordinary whole made of mirrors reflecting themselves, irradiated by unfathomable light: a flow system beyond any system. Hyper reactive, sensitive to any transformation of one of its elements and mutant at infinity.

This work of inter-determination, free trade of energy, is a typical feature of Buddhist philosophy, clearly developed by the Mādhyamika current (among others with Nagarjuna in India, second century), which thought deploys itself in a space of constellations, in the distance, and where point by point and time to time meaning becomes climatic.

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This introduction of relativity (pratītyasamutpāda in Sanskrit: nothing is brought into existence by itself, everything is polyvalent) in the field of reality is intended only to blossom the living (instant awareness and immediate realization of potentialities).

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"Life is never located at a particular point, it passes rapidly from one to another (or from multiple points to other points) as a current "

(Georges Bataille).

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Here we go walking to exploring — with its tropisms, steps, twilights, geographical limits and from the climate, convergence areas, jumps, temperature variations, seasonal divings — to physical memory of roaming, from a moment to a space.

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"Camp, a last camp?

Encampment in space "

(Henri Michaux)

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An extensive awareness, spatial, a flowing awareness: Ālayavijñāna.

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White sun, sleeping bag frost-covered --

the head full of lavender.

(Plateau de Sault 1103)

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Ionized voyage:

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Ephemeral and climatic, in a back and forth movement, a celebration of presence.

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Art for me is to burn in space.

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Nacreous clouds, noctilucent clouds (NLC), solar fogs.

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Once, someone told me about the story of a man who, as he went lost in fog, entered a blue lighted space, just as if he was crossing an electrified sheet. Describing primary phenomenons, such as rain, snow times, magnetic storms, he used the word "landwights" (in its original meaning — from an old chamanic mean to chtonian spirits, wandering land forces).

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For each installation work related to place, time, outdoors conditions, transparency, free access, exploration, I try to perform up to climax: the best abstract balance between the environment and the living, a kind of osmosis — in Sanskrit "dharmakāya", insisting on regeneration, opening, and on the possibility of a new space again.

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A chain reaction.

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The voyant, the viewer - formerly "spectator", "visitor" - beyond the act of participating or engaging itself, is a real explorer.

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Free.

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Each artwork intent produces as much artworks as there are explorers.

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A good exhibition is when there is exposition (in French means both 'exhibition' and 'exposure').

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In clima.

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A flexible and dynamic approach of location : "enter the form, go out of the form, and find your freedom".

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Mise en abyme, anonymous sea - incursion into the indefinable strangeness of the world (yûgen).

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Being rain, being warm, being autumn, being foam, being hail, a passage.

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Once opened a work may take any form - from moment to moment, minds to minds - become the formless: climatic and real, beyond any idea of form.

(Kinabalu 0209 - vaporization temple)

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Today, with the same message, drifting in space.

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Condense, precipitate, crystallize, dissolve, dissipate - move in new ways, for a meteorologisation of reality.

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The dates used in my work are departure dates marking the onset of a phenomenon, the beginning of a life in space.

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(I am a project).

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Biocosmopoetic (Kenneth White).

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As I started thinking of creating spaces into a greenhouse, I was reading Monchoachi’s Case ou se tient la lune (The Hut where the Moon holds on). In his writing, Caribbean is described as a distorted land out of tune and split, where everything goes jumping.

" Everything here comes with a single blow and wealth : day, night,
winds, rains, dryness, sap, laugh, everything is plentiful.

For real, Caribean is an atopy. "

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I try to work on my spaces to make them exude the feelings of someone landing on an island. On my first exhibition, during full summer moon, people crossed through parts of the greenhouse, in the dark, entering afterwards the white night space. All the thermal screens off, the moon entered through the glass roof, lowering temperature.

Walking barefoot on a talc beach, under the moon.

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Once in the morning, as clouds painted the sky at dawn, the white space of talc filled with rosy vibrations up.

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At daylight, the space looked like lighted snow as the sun came through. And when the weather was grey, it was as mountain when the sky is cloudy but you even get tanned.

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Walking is quite close to the sea. You very fast emerge on cosmos shore or, as Kenneth White says " on silence shore ".

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Vaporized water works makes you discover forms hardly visible through purified space as walking by : from rainbow colours appearing to diaphanous forms becoming real, all succeeding into a great coloured wet breath of air. Diminishing, intensifying. Mirrors draw out space, mist all around.

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Into the movement of lighted water, almost horizontally spread out (Atlantic areas), into the breath moving it, there is a rhythm closed to solar winds as you can see them, in frosty oxygen, weeping ionosphere (aurora polaris).

Elsewhere, drops burst into pieces, sudden shower under the sun, shiny flakes or luminescent plankton.

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This never ending movement, created by projection of lighted forms, moves into halos in the works snapshots. For " Pluie " (Rain), the air was saturated at three o’clock in the morning (freshness in the cold part of the greenhouse), as a damp day in Sentein, Rannoch Moor or Kirkjubaejarklaustur.

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According to Bachelard, dilution is inherent in radiation of vibrating activity. In a way, material, in its shape, " absorbs its own rhythms ". To get some exchange, material has to " temporize in vibrating shape, consecutively to its destruction (…). In order to get out of itself, it has to spread out, which could only be in a wave motion.

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Moving coloured shapes : white rounds (almost pink) changing into atmospheric blue as moving through another sprayed water part or a glass wall (Rayleigh scattering - the blue of the mist), before becoming green reflections. It also reminds of ice and its different coloured parts depending on its oxygen.

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Through sparkles, temperature contrasts, breath of air, walking and seeing, under this glass wrapper where everything is intensified, becomes step by step a soft avalanche, a diving into atmosphere.

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Thinking of all these areas where you can find " nor soil, nor sea, nor air, but some material made with those mixed elements, close to an ocean lung, in which soil, sea and all the elements remain suspended. " (Pytheas).

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Han Shan says : "In the cold mountain, moonlight is white." I have always been surprised to see how real raises.

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"By intervening on a place, a situation, on a time or a texture of space-time, they (art and poetry) open a breach, mark the space, open themselves dynamically to time, which they " immobilize " - to let it move better.

(Kostas Axelos).

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Walking barefoot, groping in the dark, on a path of soaked Posidonia seagrass - the fragrant air bathes every thought.