HOUSE DEEP
"one word before it is committed to employment for signs of human existence was a reality even with body indéfaite,
lived alone, without recoil. Becoming established in this first experiment, all the immediacy, unity, the sign
verbal description that is one thing, extract it from this original unity, watch, and it then make the room a reality
new kind of apprehension that the flap that can be said about its appearance. We see more
with only the eyes what the sign means. Aspects, simple considerations come to the forefront of the gaze, and
restructure and given the perception of the world. Horizon, especially visual, replaces the previous wrap.
Yet all things and beings remain there presences with which the body is self-presence of the new
be speaking. These early signs are what we would call proper names, is still with attendance now
upright in appearance but kept sharp - the tree, silhouetted against the sky - that the holder of the instrument
become in the language, negotiates its place in the endless flow of actions and reactions. It sorts among them those who can
help, serve, and those he must fear. He excavated, so to speak, a world so entirely his indistinct mass
its medium of existence. This excavation is reshaping his life is for him what he can only feel the real itself. "
Yves Bonnefoy, the beauty of the first day
When Debombourg Baptist came in life, he hung his steps on the thread of a particular resistance. Read
his research back to collect plastic in each of his previous works a froth. When I have the tips
eyes, touched for the first time her work, invited me to an intuition replay of Edgar Morin, a memory
innocent gave me to believe that some of the leading expressions of the philosopher historian seemed set if both exist
relevance of the definition, start thinking of the artist. In my opinion, would
Baptist Debombourg a "sociologist of this." Sociologist because it analyzes the echo of our immediate environment in the adventure
our body and this time, since the documents he gives belong to discover contemporary life
meetings in mountain roadsides, furniture familiar with the findings of the fatal day.
The reader will excuse me, I would Interfacienne from the cellar with the cinema for the ear that provides the voice of Claude
Pagnon. A man whose inner strength carved by a military rigor leads quickly fled to the nature,
among its truest, most naked, as free from any social form. A haiku dating from the eighteenth century says:
"Trampling the golden leaves of the ginkgo
The boy quietly
Descends the mountain. "
The need for this man, revealed by his words and his choice of life lies in the discovery of a philosophy adequate
to humans. Claude is our Pagnon Buson (Japanese artist and poet author of haiku
previously mentioned) Western Buson, literally meaning "rustic village." The conversation Baptist devoted to this personality
fractionally superhuman far illustrate some popular subjects represents the position of the artist:
culture should be a historical process of building and releasing itself. Ernst Cassirer, advance by re-traversing the
Kantian critique that the goal of culture should be "free personality" cultural property can become
live and are likely to progress through their appropriation by individuals. However, to what extent the culture of mass models
formica standardized she favors the emergence of "free persons"? And why
individuals involved in the deployment of their original liberty, seem so often considered marginal for their attitude? Having joined
daylight near the court, I stop my curiosity to run a theater silent. I think this world
floating, almost with the Japanese call "Ukiyo." I tend to sense my presence inside the apartment
open to the image of a clandestine visit to the Forbidden Zone. The status of each thing contains
arranged around an invisible mirror learning about human existence, not to say coldly, on hers, mine, yours, ours. If
Writer Andrei Tarkovsky's film came from a detour to visit the Home Baptist Debombourg deep, he could not help seeing
in the wardrobe of the artist eloquent metaphor of the only surviving witness to Hiroshima: I want to be
about a plant, Ginkgo biloba, two Chinese words meaning "silver apricot." The legend tells of a temple
Tokyo would have been protected by the tree in a fire caused by an earthquake in 1923. They say
of this tree that it remains a living fossil. Hope the material agglomerated with the usual furniture appearance
and fill the visible light - only - an illusion of real wood, if the flowers projecting wood
original is impossible ? Baptist built beyond the visible objects of hybridity, the monstrous aspect of Registry errors.
Fulfilling the gesture in its absolute, blows controlled, thoughtful and organized worn by the ax in his hands just
both retain and deliver the myriad impacts of a repressed history, unspoken, or often ignored.
Why do we tolerate a standard governs our lives, destroys or inhibits our originality? Why not set a primary law
and final questioning of any body spontaneously acquired (or heard of any body that is concrete or abstract)? It
see earthquakes had dug by the artist in the heart of the trunk of the Bible polluted the consumer to notice that the leaves fall
no longer constitute the sole soil stratum to strew our spiritual and earthly. Faced with an array
exotic, a taxidermy or "the art of giving the appearance of the living dead animals ..." Deceased, the pigeon is a bird
knighted, a pigeon "money", a kind of parrot back one-dimensional simple and dumb
-like portrait of an animal to Fayoum colored feathers. Paws and claws form a cluster on bituminous
mourning for a fatal accident. Works with Baptist Debombourg still collects a double identity: the seduction
first glance and the subtext, or rather the sub-field induced by both the insistence of perception. It's all the arabesque
imposed by the use of "complex thinking" (Edgar Morin), which leads to the drawings of guns pointed at each passing
indirectly. The visual invitation that I catch myself sometimes during the visit to look
me back to reality almost inconceivable weapons where children embark on the shoulder for fighting
or exceed those who frequently use the words "Hands in the air" to enjoy a phallus
lead and, sometimes, to do justice to yourself. Ken Saro-Wiwa, Nigerian writer, wrote in "rotten English" Sozaboy,
the novel a "small minitaire 'and condense them through the prism of the life of this child-soldier all the unbearable, just a fool ,
all the unacceptable acts of war. Besides, does not it suggest that the Baptist, in these architectures
subtle comic in pencil inside these arms that States are as essential landmarks of
loaded with all their pride to be able to defend themselves in times of crisis? There is the FAMAS, COLT 1911, Walther P38
... What can they represent more than a prison, an office, a place of worship, a school? The artist has taught me that the SB
Dragunov, sniper rifle, is a Russian high-performance standard used during the conflict in Sarajevo: the soldiers had surrounded the town and shot
children. Men spend while the war will remain. No doubt we believe
duty to maintain that there is a continuous history? And always at the center of reflection Baptiste
coexistence of duality, track moving and fragile man in his own ability inhuman self-destructive and irrevocable.
What would happen, and that is the question now underpinned by the office of the public room, if we work
was not synonymous with a robot performing the one after the other impersonal tasks, but
infinite space of a "permanent establishment" * and free, a metamorphosis continually renewed?
Anais Delmas
* Filliou
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