The installation ‘QUINAE’, which evokes multiple voyages, could be seen as a ‘Road Movie’. If the first shots of the road are literally images of trips, the evocation of other journeys that follows is more allusive, more diverse and more unexpected: geographical, historical, literary, dreamlike, psychoanalytical, and symbolic voyages etc., not to mention the incessant movement of our gaze from one image to the next, between one image and the next. The calm and linear images of the road from the first scenes soon combine with images of flowers filmed in a violent and disorderly panoramic, opposing the open and vast shots of the road to the very tight shots of flowers and grass. Images that have the liveliness of an intoxicated body rolling around on the ground, with a savage and playful look, - unless it is in fact a terrified, panic-stricken look of someone trying to escape; or perhaps the reminiscence of a naive vision, literally at the level of daisies, eyes and body, clinging to things from their childhood, until the body and the look/expression withdraw from things, from certain contacts, from certain sensations.
Credits
