"We are making a world where many will have unwanted swimming pools and others will have dried up wells. As in the past, family meals drag on, only the adults have the right to speak and, as in the past, they leave the table at 6 p.m., full as they are, not wanting to make decisions that could compromise the next family meal." Patrick Santoni.
The pools speak of the obscurantism of our Western societies in the face of the future, trapped in an economy of enjoyment: there is no longer any room for desire or ethics.
From the exploded Tesla to the task, via the child, everything accuses what precedes the capture of the figurative moment and forecloses the notion of choice. Nevertheless, this accusation, already mute, is rendered inaudible by the implacable swimming pools and their repetitive and objective neutrality.
The artist also questions this non-place formally, playing the game of producing NFT versions of Horizon World*, the world next door.
As a response to opacity, to the wall, to the loss of meaning, to the confrontation with the absurd, a possibility emerges: more than a hope, the combination of an expectation and a remnant of the future.
The indelible stain of an unknown third party, detached from the surface and whose trace is yet to come, plunges past, present and future times into "something else" and opens a door to another world rather than another world.
* Name given to the metaverse by its creator, Marc Zuchenberg.
A trajectory cannot exist without a preamble. At the origins of the pools, there is this archaeological inventory of the time, places that I track down like an anthropologist, the traces of a species on the verge of extinction.
Under the carefree blue sky, abandoned houses and beings invisible to the viewer - yet present - form a corpus of objects lying, as if on the verge of disappearing.
Do our manipulations of the world make it an imaginary world? Finished after the end, almost beyond the end, the epilogues of the pools place reconstructed images of places that don't really exist and the pool element that legitimises by neutralisation. Between us and the world there are the pools, between the pools and the world there is the hand of man and his capacity for dematerialisation and invention. Thus a man, a child = a father and a son, popular imagery. And yet... These digital images printed on fine art paper, whose narration is assembled from scratch, represent the non-places in the places and a generalised self-sufficiency.