Le Cri. Ilfochrome on aluminium. 91 x 100 cm. 1998-2000

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Chuchotement.Ilfochrome under Diasec. 103 x 113 cm.1999-2001

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Fontaine. Ilfochrome sous Diasec. 94 x 102 cm. 1999-2001

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Baiser. Ilfochrome sous Diasec. 104 x 103 cm. 1999-2001

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In the early 1990s ERIC RONDEPIERRE started exploring the blind spots of cinema. His intervention consisted in choosing frames (the images that are projected at a rate of 24 per second on the screen, and that are invisible in a normal screening) in accordance with clearly defined criteria, and then excerpting them and showing them as large-format photographic prints. This economy of the image, which is often defined as “conceptual,” brings into play several different registers (text, painting, cinema, photography) with a rigour that does not exclude strangeness or humour.

Since 2002 his work has branched out. The artist has begun using his own images, recomposing them in combination with his texts or drawings, or with appropriated images from the cinema. His recent writings have also extended into other fields such as fiction and autobiography

For the pictures presented above, the artist did not use a camera. He cut directly into the film reels and framed the space between two images, which naturally creates an inversion between the upper and lower part of the frame. No other manipulation is involved. The cutting of the first image corresponds exactly to that of the image that follows, so that there is no loss in the inversion.

The fact of straddling two consecutive film frames invites the gaze to hesitate between two spaces. It is a kind of montage made by “reprising the view” in a staggered way, without manipulation.