It all started with
a perfect moment
so perfect
that I closed my eyes
in the hope of making it last forever 

That’s when
my absurd desire
to freeze time
was born

When I opened my eyes,
this perfect moment
was gone
and every hope
to catch it again
was vain

Exhibition views, The Other Sleeps in All Things Around, Wonnerth Dejaco Gallery, Vienna Austria
2021

(1) Vegetal drunkness, 2021
During the opening of the exhibition The Other Sleeps in All Things Around, in Vienna on september 2nd 2021, the video Vegetal Drunkness was projected on the top of the facade facing the exhibition space. The blurry, elusive patches of light revealed themselves as night fell. In the following weeks, it was visible only toward the end of the exhibition - when the sun has set early enough and before the end of the opening hours.

(2) Friction in Plain Sight VI, 2021
By using textile on the scale of architecture, the intention is to blur the limits between foreground and background and between the artwork and its environment. These thin/gracile veils take their autonomy by distancing themselves from any wall, it is revealed by the iridescence and the moiré, undulatory drawing resulting from the superposition of two wefts. The subtle evanescence of this vibration varies according to the angle of view, the intensity of the light and the air movements sometimes induced by the passage of bodies. It requires a particular attention.

(3) Friction in Plain Sight III, 2020
At first glance these series of text-based works appear silent to the point of almost blending with their background. However, while getting closer in search for a favourable angle, matte letters reveal themselves.Thus, depending on each personal experience, these poems either remain imperceptible or are encountered actively and willingly. In contrast with annihilating flows of information and images, this play with perception and attention aims to stimulate our sense of free will. It also embodies my personal relationship to poetry: I constantly oscillate between the need for its depth and emotions and the need for distance and lightness of heart.

(4) Friction in Plain Sight II, 2020
This close-up photograph of a vibrating textile deliberately treads the line between abstraction and reality - in order to suggest the outer space.

(5) Phosphène, 2021
Phosphene is based on a collection of sunlight patches photographed over a few years, whose blurred outlines are models for wall paintings. This play with the outer limits of human vision and attention is also accentuated by the very subtle contrast of colors between the applied varnish and its background. The outlines of the painted sunlight patches appear more defined from afar and vanish while approaching them. Up close, dizziness and eye floaters might take over the clarity of the field of vision. The juxtapositions of different shades of similar whites can be demanding for the eyes. It echoes, for example, with the visual fatigue experienced after prolonged time behind screens. Thus, the biological limitations of the human eye open to other ways of seeing, beyond the utterly phenomenological dimensions.

Photos : Peter Mochi