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The triptych Appearances plays with the ambiguity of the english word appearance for a french speaker, that assembles two different meanings [apparence / apparition]. On the one hand, a meaning related to time: the exact moment when something, or someone, is visible as such. Bringing the uncertainty of that moment and its possible non-reality, like a phantom. And on the other hand, it means what defines an entity, wether its an object, a person or a landscape. How it looks like as one could say, knowing that the senses might cheat the perception of it. The gap that lays between both meanings gives space for an archaic exploration of beginning - any beginning. What allows oneself to name it as an event, wether it is personal, interpersonal, political or even mystical one?
The triptych evokes the poetical possibility of an overlap as well as a concrete, voluntary and maybe holy gesture of folding and unfolding three parts of a whole. Here, it is a matter of time rather than space, and the three parts are gathered within a lapse of time, calling memory to remain as a single object. An object that one can see through however. If the three parts operate a similar sliding from immateriality to materiality, throughout a confrontation with loss - of any border, of a room, of an image, of oneself -, it is each time a different invitation to build up a subjective experience of sensing.
The triptych experiments directly and repetitively the modus operandi. How could a performance actively relate to its audience? How to keep on using the "performativity" of fog as a ground, in a different room creating a different proximity?