In one word…en un mot

Month: June, 2015



Dark Tower Crepuscule2w


Poetic and philosophical vision in real, remembered and imaginary spaces of a nomad  in London through an indeterminate length of time . The title refers to the ontological question of presence in a world now based on a kind of absenteeism, i.e., where the mind  becomes divided from the personal, absorbed by virtual collectivism intrinsic to  the mega-urban context, in this case London.

Algostasis1w Anticlockwise1w Vacant Throne3,w Vacant Throne,w


Although there is no obvious cinematic narrative, a progression exists in the unraveling of the visuals emphasized by the music score and superimposed contextual sounds. it is based on two main perspectives. One, the personal journey in time and space, of the maker, concentrating the focus therefore mainly on areas of London encountered in his life and containing the remnants of abstracted memories directly linked to the idea of the Mnemonic City insofar as it is translating signs into a deep emotion attached to each of these places.

Negative hand to Positive5,w

Two, a perspective relating to archetypal complexes residing in those memories and containing universal mythology, the elements of which are played out throughout the animation by way of various alterations and transformations but also through specific symbols such as ‘the tower’, ‘the moon’, the shadow’, ‘the hand’,’the throne’, or the elements such as water and fire.

Oracle Verdigris1 Oracle Verdigris 10 The Feather Player02 The Thinking Hand1 Tower of Oblivion1 Tower of Oblivion3

The vision presented is a flowing composition and a symbiotic composite that could have been extracted from a dream.

Dark Tower Divided,w

Wormhole” points to the possibility of entering a parallel dimension while remaining lucid of what the maker considers his own’ land’.“Labri” is the root of labyrinth, a reference to the underlying esoteric structure of the city. “Peripatetic” refers to the act of wandering by foot, linked to the idea of the flâneur who, by exploring the context directly travels inwards, analysing and re-evaluating his own internal constructs. “Ballad” refers to the nature of loss and poetry constituting the two foundational aspects of the piece. “London” is the name of the location in question, known to the maker since his childhood and as equally important to him as his native city. He is the “Nomad” , for despite having lived in this metropolis for over twenty years, no feeling of belonging has ever truly developed. Instead, the maker has gained a kind of philosophical detached discernment out of an impersonal environment he had once half believed, long ago, to be his home.

The work is divided into interlocking scenes suggesting a psychological in-evolution, perhaps equivalent to the passing images in the mind of a sleep walker as they migrate from one room to another inside a large mansion.


Towers of the Entropic Distortion2 Rip11w Towers of the Entropic Distortion Rip11w Towers of Entropic Distorsion1w Towers of Entropic Distorsion3w Towers of Entropic Distortion, Lunar Phase3w                 One could dare affirm there is a beauty in the destruction of beauty since the emotions stirred

Wormhhole Labri.S 2,w

are summoned from the expanse ‘de profundis’, of the psyche. One could also dare affirm the increasing level of hideousness of London is so extreme it has become ‘awesome’. a monstrous edifice challenging the borders of paradise with ever higher peaks, each more violent than the one preceding it, but more so, it is down below at street level, in the shadow of these blank feats of engineering that real ugliness lingers, banal and monotonous, enveloping the crowd within a suffocating smog of relentless repetition. This cine-animation brings these facets of the city into view while retaining a poetic filter, not to embellish but to do justice to the complexity and depth of the situation in which humanity finds itself at this juncture of post history.

Produced for the new Mnemonic City in London 2015

In collaboration with

Swan Wharf, Fish labs in Hackney Wick

and The Barbican



Anna-by Jaime Valtierra 2014

I once wondered why the painter ever makes a mark in the emptiness, what he /she intends to remember because this initial gesture stands as an entrance into a territory that demands visibility, no matter how indefinite, like dreams. And how is it possible in the first place? But we are not talking about a point of focus, quite the contrary. We could indeed speak of a phenomenological field as it is suggested in Deleuze ’s concept: “Plane of Immanence”. Jaime Valtierra ’s new works epitomise such a ‘condition’. There is no fixity here, yet, he arrests one moment like the spearhead of a battalion. There is no escape for form to the land of the ‘tableau’, for this artist denies the dictatorship of the ‘finished product’, i.e., as a cage of irreducible linear statements. We cannot fathom an end to the process of creation. As Deleuze explains, the “plane of immanence” encompasses death as an active participant in the act of transformation. In this work, what becomes demonstrated is the nature of destruction lying within every molecular impulse towards life and without the truth of which no creation could be realized. We discover the possibility of decomposition within the margins of compositional tactics, the hazards of a liquid underworld where Valtierra leaves traces in strategic places although none have been fixed. Relativity and reciprocity rule a universe in flux until the new body begins to make sense, a sense proper to life, an antithesis to the formalism of imitative artifice.

Two main themes are evident; one is the process and place of making. The Studio is a kind of doppelganger self-portrait enunciating the death of portraiture as we know it. Its completion is contradicted by a sense of imminent disintegration. As with all the other recent works, a minimal palette was used in extreme opposition to the rich color saturation of previous ones. The second theme, integral to The Studio, lies in The Digger. We are in the realm of the fool, the unconscious. His paintings remind me somehow of ‘écorchés’; the surface of preconception has been ripped away. He replicates himself, to arrive at what feels like the pulse of the image. He takes them apart, as if taking himself apart, reconstructing, yet never as a builder, but rather as a demolisher, for before getting to the outer edge of the original form awaiting his discovery, he must take down entire walls of conventional visuality. Such a process stems from the foundation of the art, that is, alchemy, “Our stone(…) is composed of four elements, it must be divided and its limbs taken apart(…)and then transformed into the nature that is within it.”(Rosarium Philosophorum).

Talking Head is the artist, the rational intervention, and the conscious’ apparent victory. There is no model; this is a return to what happened before what was known, the ‘nigredo’ of transmutation. Nicolas Valois tells us in The Mystery of Cathedrals by Fulcanelli: “ He who transmuted first had no books, he followed nature, observing how and with what materials she works”.  The ‘salvation’ resides in the materiality of experience, “satisfied in the absurdity”. As Jaime points out, and quoting Francis Bacon: “Some paint comes across directly onto the nervous system”. It seems Jaime Valtierra has fomented a dramatic existential rebellion against insubstantiality to unearth what he calls “the root of desire”. Anna may stand as the apex of this research in my view, a mother and an ogre, disfigured and omnipotent, blending with the air yet in a nightmarish sense, materializing before us.

Jaime unleashes the man out of rational time to dismantle the illusion of the pre-conceptual persona, the man Deleuze referred to as ‘the idiot’: “Something in the world forces us to think. This something is an object not of recognition but of a fundamental encounter. What is encountered may be Socrates, a temple or a demon. It may be grasped in a number of affective tones: wonder, love, hatred, suffering. In whichever tone, its primary tone is that it can only be sensed.”(Gilles Deleuze, Deleuze, G. Difference and Repetition). Is Jaime extricating this indefinable tone by departing from a certain color convention found in his earlier pieces? “ It is like dismantling a machine while it is still running, this means there is no machine”. What we find instead of logic and obvious seduction is a kind of ontological battlefield where the grotesque takes hold from the depth as it did in Goya’s Black Paintings so familiar to him. It has echoes of Not with Love but with Fear, 2013, where the artist’s head splits and doubles itself, a prelude to his present haunting images. Instead of the figure as fact, Jaime turns it into “an experience of space”, and insinuates space into the surface. We are entering Romanesque evocation, seeing from different perspectives on one plane, “it is so awkward it is right”, Jaime says as he looks at medieval illuminations.

We glimpse into a world that is not yet one, a meaningful dissolution where implosion and explosion occur simultaneously. We are certain of nothing, we are left to swim at large encountering ourselves, the poetry of nature beyond the superfluous aid of symbols, for symbols cannot survive in the chaos of life, even on canvas and paper. Jaime tells me it amounts to un-explaining, where the story cancels itself out, where the building block of imagery is nothing but confusion and drawing is as important as painting, a form of inner breathing, a mastication and a contemplation, a comprehending and apprehending of the dark and the light, the actors and the props.

The result if we can call the paintings and drawings thus, for they seem to allude pin pointing and definition, is soft and violent, grotesque and poetic, sexy and inhuman, a unifying muted principle, a return, as Jaime tells me, to the feeling of an image against the false safety of logic. “In order to make the accidental, all you already know must be dissolved.” He carves into the substance, creates volumes out of power relations between uncertain lines, makes gestures into spatial mediators, laying sub-layers bare, destabilizing planes out of focal absolutism. We are left to our own devices, staring into another kind of cosmos, perceiving what we imagine as we would, gazing at the impenetrable movement of foliage in the moonlight.  We can no longer imagine a painting to be the sole effect of a fantasy; this work reveals the imagination of the reel.

Copyright © Pascal Ancel Bartholdi 2014

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