Pauline De Chalendar

Film

Everyday social relations evince a strange complexity that I find disturbing and fascinating. Recently I have become aware of the importance of space and movement in a situation of exchange, as profound and subtle bearers of meaning as regards the direction taken by the interaction. Although a great reader of sociology and anthropology, my interpretation is more in the order of the unsayable and intuition. Ideas arise from curiosity and observations prompted during the sensuous period of creation. La ronde et le sillon, an installation in open space, reveals the wanderings of a callow young man in a landscape drawn in charcoal and oil paintings. During his walk, he is challenged by the encounter with symbolic men and colourful metaphors. Is there such a thing as a suitable distance? Is there a proper balance between an exclusive personal space and an intrusive and, soon, stifling proximity? Is there just not a simple opposition between man in a crowd and isolated man? Oscillating between abstraction and figuration, I question the equilibrium between control and creative letting go, between knowing exactly and going round in circles. Space is occupied by the troubling physical presence of one of our fellows, an immobile observer permeable to coloured sensations. His relation to the screen takes the form of a conversation that everyone is free to join and enter so as to form a circle.

Pauline De Chalendar

Remerciements

Mes chaleureux remerciements à Bernard Faucon, Anna Katharina Scheidegger, Élodie Wattiaux, Madeleine Van Doren, Daniel Dobbels et toute l’équipe du Fresnoy, la promotion Bill Viola, Jérôme Legros et les staffeurs d’YK Créations, Gabriel Gullo, Rémi Mencucci, ma famille, Antoine, et le banc-titre dieu gorille.