VIDEO EXTRACT

Always starting from commonplace experiences, as trivial as they may be, Edith Dekynt catches these
particular and poetic moments that arise from the unplanned conjonction of little occurences, objectively
insignificant, from the unexpected discovery of simple images. Her work consists in re-creating the
emotionnal environment generated by these derisory occurences. The simplicity of the forms conceals
the accuracy of the preparatory work. Nothing is left uncontrolled, every solution has been experimented
before being chosen. Once again, Edith Dekynt starts working with barely tangible, nearly unsizeable
materials: the ordinary television image. The visitor is confronted to the diminutive variations of an
etheral image that is projected onto a white space. The images are produced by a television screen
receiver, and are thereby invisible to the spectator. A camera, which is placed under the T.V. set, films
the reflections of  light as they are projected onto a white wall and transmits the latter onto a
videoprojector. The spectator is never confronted with the diffused images of an international
T.V. channel: the choice of materials thereby remain undertermined, and the light effects avoid a cyclic
regularity. Only the stroboscopic effects that spread accross the room can be perceived. The experience
is always new, ever different, even though the nuances it offers are probably infinitesimal. The usual
manner of viewing televised images goes amist. What comes first is no longer what the image
represents, but rather its reflection in the ether, its dissolution into the atmosphere around the place
where it appears. To the aggressive power of the moving image, to its capacity to absorb and fascinate
(its iconic capacity) even to dictate, Edith Dekynt opposes the fragility of sensitivity, the rising of a
profound emotion that springs from nearly nothing. Starting from an absence, she manages to suggest
an intense emotion that could be called, as we used to say at school, in inverse proportion. Here are the
limits of the work. However, it either functions well or not at all. The spectator either supports or rejects it.
The installation does not allow one to take position in between.