Near Life Experience is a film essay on the birth of forms, but in the form of sculptures. The word “form” comes from the Latin forma, and its Greek equivalent is “morphe.”
Morpheus is the goddess of prophetic dreams who puts men to sleep by caressing them with poppy flowers. Their bodies then become like the dead; they take shape, take position.
It is in this night that humans escaps from the machine of the gods, which governs the world, and are able in turn to follow up the tracks and keys offered by their imagination and make them real.
Near Life Experience is an attempt to solve my own obsessions.
Form is what is immersed in this liminal state, a critical state between idea and object, energy and matter. The nascent form tries as best it can to resist death: immobile, it is worn down by time; in motion, it is too fragile to resist the weight of time. The exhibition neutralises in order to better show, it is an atomic spraying machine in the service of abstraction. It gives birth to value and experience. It channels art, gives it a temporality and a space, it creates an economic system, from which trades emerge, knowledge is exchanged. The form always plays along with this space in the attempt to survive it. There is no truly rebellious act that can exist according to the sense of this space because nothing that tries to save its life is rebellious, just deeply alive. The forms try to explain to us how they survive, reproduce, infect people with the ideas they encrypt, and how they die. Art objects are objects of power and might, which they transmit and symbolize: this is the reproduction of substance through form.