‘Things being whatever it is they happen to be, all we can know about them is derived directly from how they appear.’

Mel Bochner, ‘Serial Art, Systems, Solipsism’, in Arts Magazine, summer 1967 (republished in Minimal Art: a Critical Anthology, G. Battcock, New York/E. P. Dutton & Co, 1968)

You have proposed a series of works for the exhibition. What did you base your choice on?

If one works on the principle that our everyday reality is already saturated with images, one can’t quite see how a person who decides to take an interest in the questions this raises could produce fresh images, always according to the same modes and codes shared by many genres, with no risk of overloading, or sterile repetition even.
Therefore, instead of creating images I shift them, unstick them here and stick them elsewhere, recycle them, give them a new lease of life. The installations are subject to the same rules. They are often re-produced, transformed.
For the ‘Sliding Idol’ exhibition, I reactivated an installation principle I used at the Villa du Parc in Annemasse, then at the École Supérieure des beaux-arts in Tours (‘Sticky Labels’, 2005). A single motif is treated with multiple exposition devices, each disrupting the other. There is a sort of closed frontality. It’s a flat, plastic-coated installation, combining wall painting, light boxes and advertising billboards.
I intend to introduce a fresh support for the motif, an automatic pedestrian door. It will be something generic for all those images that escape us. I imagine a door composed of mobile panels that open as the viewer approaches. A dummy of the image that is only ever just one more metaphor.