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You can build a whole life on a wonder or intuition you had as a child. There are memories that we must constantly
«dig» and decline, because at the heart of these initial fascinations are intuitions about a reality that is beyond us. Our
role, for the whole life, then becomes to give form to these intuitions to reveal, to oneself and to others, this hidden
truth.
Paul Virilio, who died last year and to whom this exhibition pays tribute, has thus built his philosophical thinking on
the basis of a striking image of his childhood: that of the horizon and the maritime and air attacks off Nantes during
the Second World War.
Paul’s recent death was the catalyst for formalizing a project on these founding images of a singular life course, on
this moment of grace when a particular sensitivity is called for to develop a very fine and relevant appreciation of the
reality that fills the child, truly «impressed», with an inspiration for the life to come.

«Ligne de fuite» is one of several works with are some attempts to evoke and enter into this landscape in perspective that carries the destiny of the observer towards this idealized point, called «vanishing point», where parallels seem to meet. The term «line of flight* (ligne de fuite)» is to be understood here in the sense given to it by Deleuze and Guattari in A Thousand Plateaus: unlike «hard lines», which concern our destiny modulated by power systems (school, working environment, community...), and flexible lines that concern social intimacy (family histories, secrets...), they distinguish «lines of flight « as those that promise us emancipation, deliverance and liberation. They do not lead to a future but to a becoming. Unlike the fixed, pre-established destiny, these «escape lines» allow us to feel the being within us, to feel rid of the yoke.

* Fuite covers not only the act of fleeing or eluding but also flowing, leaking, and disappearing into the distance (the
vanishing point in a painting is a point de fuite). It has no relation to flying.

The installation has the plastic typology of a scientific observation instrument. The line that carries the observer inspiration
unfolds on a «table-screen» like a flow of movement on which visual and emotional inferences, chosen randomly bay the computer from an bank of intimate pictures, are grafted. These images are filmed by an observation camera, writing tool as well, which broadcasts them on a second screen as a cinematographic continuity. This second screen is the «vanishing point» in which the hatches of time, the instant decompositions of the «film» line of life, are condensed. Often, the camera re-films the images it has just captured. The resulting feedback process leads to a degradation of image quality, reminiscent of the process of memory erosion.

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